Nouveau Réalisme (1960-1970)

The Nouveau Réalisme Manifesto, signed by all of the original members in Yves Klein's apartment, 27 October 1960

“…a poetic recycling of urban, industrial and advertising reality…"

-Pierre Restany

Yves Klein (1928 –1962)

Yves Klein during the work on the Gelsenkirchen Opera, 1959

International Klein Blue and the "Epoca blu"

● International Klein Blue is outside the gamut of computer displays, and can therefore not be accurately portrayed on web pages

Synthetic ultramarine, similar to that used in IKB pigment. The formula for the pigment was first mixed by Klein in 1958.

Yves Klein, Monochrome bleu (Monochrome Blue) (IKB 3), 1960. Pure pigment and synthetic

resin on canvas mounted on wood, 78” x 60”

"Blue has no dimension, it is outside dimension, while the other colours do have one. They are pre-psychological spaces... All the colours bring associations of concrete ideas... while blue at the most brings to mind the sea and the sky, what is anyway most abstract in tangible and visible nature".

Yves Klein, Blue Monochrome, 1961. Dry pigment in synthetic polymer medium on

cotton over plywood, 6’4 ⅞” x 4’ 7 ⅛”

http://www.youtube.com/watch?v=HyQ9v5cOhuU

Synthetic ultramarine, similar to that used in IKB pigment. The formula for the pigment was first mixed by Klein in 1958.

"First there is nothing, next there is a depth of nothingness, then a profundity of blue..."

-Yves Klein

Yves Klein, La spécialisation de la sensibilité à l’état matière première en sensibilité picturale stabilisée, Le Vide (The Specialization of Sensibility in the Raw Material State into Stabilized Pictorial Sensibility, The Void) or Le Vide

(The Void) displayed at the Iris Clert Gallery, Paris, France, 1958.

http://www.yvesklein.de/yves_klein.html

"Recently my work with color has led me, in spite of myself, to search little by

little, with some assistance (from the observer, from the translator), for the

realization of matter, and I have decided to end the battle. My paintings are now invisible and I would like to show them in a clear and positive manner, in my

next Parisian exhibition at Iris Clert's.”

-Yves Klein

Yves Klein, Le Saut dans le Vide (Leap into the Void); Photomontage by Harry Shunk of a performance by Yves Klein at Rue Gentil-Bernard, Fontenay-aux-Roses, October 1960.

The Anthropometries

http://search.yahoo.com/search;_ylt=A0geu5ubAoNLtiUAzYFXNyoA?fr2=sg-gac&sado=1&p=yves%20klein%20youtube&fr=yfp-t-701&pqstr=Yves%20Klein%20you&gprid=zk6iTWfHRGK.hNXcAhOhBA&sac=1&sao=1 and http://www.youtube.com/watch?v=pJV0n4A_6-M

Yves Klein, Anthropometries, 1960. IKB pigment on canvas applied like a stamp with the female body.

Yves Klein, Shroud Anthropometry 20, “Vampire,” c. 1960. Pigment on canvas, 43” x 30”

Still from Anthropometry performance, Klein's 1949 The Monotone Symphony (a single 20-minute sustained chord followed by a 20-minute silence)

Venus of Lespugue. This picture is a replica of one dated c. 6,000 BCE. Ivory,

6.” Discovered, 1922.

Yves Klein, Anthropometries, 1960. IKB pigment on canvas

applied like a stamp with the female body.

Yves Klein's Fire Paintings

Yves Klein, Fire Painting, 1960. Flame burned into asbestos with pigment, dimensions unpublished

Loving Care, performance, US-London, 1992-1994

Lilibeth Cuenca Rasmussen, A Void, One out of 11 re-enactments: Anthropometries of the Blue Period. Galerie Internationale Dárte Contemporaine, Paris, 1960, Yves Klein, 2007

Rachel Lachowicz, Red Not Blue, 1992.

Jean-Paul Gaultier advertisement, c. 1999

Jean Tinguely (1925-1994)

Jean Tinguely, Homage to New York, 1960. Mixed media; self- destructing installation in the garden of

the MoMA, NY

“The machine allows me above anything ,to reach poetry.”

-Jean Tinguely

Niki de Saint-Phalle (1930-2002)

Niki de Saint-Phalle, Shooting Picture, 1961. Plaster, paint, string, polythene, and wire on wood,

56 ¼” x 30 ¾”

Niki de Saint-Phalle, Black Venus, 1965-67. Painted polyester, 9’ 2 ¼” x 2’ 11” x 2’

Niki de Saint-Phalle, She-A Cathedral, 1966. Mixed-media sculpted environment, 20’ x 82’ x 30’. No longer extant.

Christo (b. 1935) and Jeanne-Claude (1935-2010)

http://www.nga.gov/exhibitions/2002/christo/intro.shtm

The Gates 2005

●The Gates lines 23 miles of pedestrian paths from Feb. 12 to 27, 2005

●There were 7,500 gates

●Viewers were given a swatch of material from the gates if they asked questions from the guides; the material, like all their work, was environmentally responsible

The Gates, 2005. Central Park, NYC.

Christo en Jeanne-Claude, Wall of Oil Barrels/ The Iron Curtain,  rue Visconti Paris, 27 June 1962. Photograph by Jean-Dominique Lajoux.

Christo, Package, 1963. Mixed media with fabric and twine, 11.2 “ x 8 .5” x 3.7”

Christo and Jean-Claude, Wrapped Reichstag,

Berlin, 1971-95.

ChristoWrapped Reichstag, Project for Berlin. Drawing 1987 in two parts: Pencil, pastel, charcoal, wax crayon and map, 15" X 96" and 42" X 96"

Christo, Wrapped Reichstag, Project for Berlin, 1995. Collage (pencil, enamel paint, wax crayon, photograph by Wolfgang Volz, charcoal, ballpoint pen, map,

fabric sample and tape on brown cardboard), 11" X 14“

Surrounded Islands, Biscayne Bay, Greater Miami, Florida, 1980-83. 6.5

million square feet of floating pink fabric. Island perimeters extended a total of

200 feet.

Christo, Surrounded Islands, Project for Biscayne Bay, Greater Miami, Florida, collage 1983. Ball-point pen, colored pencil, graphite, enamel paint, photograph by Wolfgang Volz,and tape, on paper, (12 ½” x 13)

Christo and Jeanne-ClaudeThe Umbrellas, Japan - USA, 1984-91

Christo, The Umbrellas, Joint Project for Japan and U.S.A., collage 1991,pastel, enamel paint, graphite, colored pencil, wax crayon, aerial photograph with

topographic contour map, technical data, and fabric sample, on two sheets of paperboard, in two parts: 30 ½” x 12 and 30 ½” x 26 ¼” overall: 30 ½” x 39 ¼”

The Umbrellas was designed in vivid blue for the verdant

environment of Japan and in bright yellow for arid southern California. However, structural components were the same:

each umbrella stood more than 19 feet high, opened to a 28-foot

diameter, and weighed 448 pounds

In Memoriam