This work differs from the artist's earlier assemblages by abandoning the more colorful found-objects, previously seen in works by Dada artists and restricting itself to an entirely black palette. The spectacle to which this esteemed audience (including the Governor of New York) was subjected became as much a part of the artistic experience as the original work itself. Of his most renowned kinetic sculpture, Homage to New York (1960), Tinguely said, “it’s a sculpture, it’s a picture, it’s an accompanist, it’s a poet, it’s decoration—this machine is a situation.” In total, the work was to assume an alternative symbolism, suggesting, for example the organic nature of New York City - known for both destruction and reconstruction, exhaustion and renewal. Beyond blurring the line of the role of the artist/viewer, here we see the beginnings of interactive art, a practice that is now highlighted by dozens of artists and takes center stage at many museums. [Internet]. The artwork created was of a necessarily unforeseen nature, differing each and every time, and directly affected by the random movement of the asymmetrical mechanical device. Tinguely addresses all our senses, and film fragments add to the dynamic atmosphere. The full text of the article is here →, Jean Tinguely photographed by Lothar Wolleh, Milan, 1970, http://en.wikipedia.org/wiki/Jean_Tinguely. Catalogue entry. In 1944, the Swiss artist Jean Tinguely (1925 – 1991) started his career in a Bazel department store as a freelance window dresser. Find available paintings, past sales for Jean Tinguely and valuation information on the artist Jean Tinguely See more ideas about jean tinguely, kinetic art, kinetic sculpture. Found objects, motorized elements - Museum of Modern Art. The piece stands nearly 7 feet tall, making its effect quite impressive. They stood in opposition of figurative art and abstraction and influenced the Fluxus movement noted for synthesizing a number of media in new, innovative, and consistently energized, ways. Jean Tinguely created his work as a rejection of the static, conventional art world; he sought to emphasize play and experiment. Although it's nominally a one-eyed cyclop of the kind found in Greek mythology, it's actually composed of multiple whimsical elements which negate any lingering feeling of the horror associated with its name. Throughout his later years, Tinguely continued to design assemblages that specifically interacted with sources of water. Méta-Maxi, 1986. M é ta-Matic 17 Tinguely’s next major work, Homage to New York , was unleashes at the Museum of Modern Art in New York in March of 1960. He is best known for his sculptural machines or kinetic art, in the Dada tradition; known officially as metamechanics. Jean Tinguely Salut (Pontus) Festival d'art total - Yves Klein - Bruno Munari - Erwin Steiner N.Y. - Duchamp - Iris - vitesse pur et stabilité - monochrome - excavatrice d'espace - pérforateur mono - Czwiklitzer 1958 Jean Tinguely P. No. With his do-it-yourself drawing machines, Tinguely critiqued the role of the artist and the elitist position of art in society. The massive sculpture stood twenty-seven feet tall, was twenty-three feet wide, and was painted primarily white. All Rights Reserved |. Their contributions, enhancing and altering quite significantly Tinguely's original idea, include a mirrored mosaic by Saint Phalle, a huge flipper (whose activation demands two spectators) by Bernhard Luginbuhl, and a sculptural work devoted to the subject of the deportation by XXX. Interestingly enough, although the work seems to laud the overall effect of mechanization, by expanding its effect on the spectator, there is some suggestion that instead, it exhibits Dada skepticism regarding the potential of technology to improve human life. The artistic cooperation between Jean Tinguely and Niki de Saint Phalle resulted in some of the most intriguing artworks of the modernist movement. Steel, plastic, cardboard, mechanical motor - Tate Collection. Born in Fribourg, Switzerland in 1925, Jean Charles Tinguely was only child to Charles Celestin Tiguely and Jeanne Louise Tinguely-Ruffieux. Born in Fribourg, Tinguely grew up in Basel, but moved to France in 1952 with his first wife, Swiss artist Eva Aeppli, to pursue a career in art. The experience of the viewer is not limited to an assessment of the parts assembled but instead, includes his journey through, around and inside of the large sculpture as a whole. Also in 1960, the same year that Jean Tinguely signed the manifesto of New Realism, he created what has become his most famous artwork, a happening involving a self-destroying monumental sculpture titled Homage to New York. Visit the Frank Lloyd Wright–designed Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. Tinguely used the term "Metamechanics" to describe how he set his assemblage sculptures into motion with some form of motor or system of mechanics. Jean Tinguely (22 May 1925 – 30 August 1991) was a Swiss sculptor best known for his kinetic art sculptural machines (known officially as metamechanics) that extended the Dada tradition into the later part of the 20th century. Title: Narva Artist: Jean Tinguely (Swiss, 1925–1991) Date: 1961 Medium: Steel bars, metal wheel, tubes, cast iron, wire, aluminum, string, electric motor 220 v Dimensions: Variable: 112-3/4 x 80 x 81-1/2 in. 17 was created especially for the 1959 Paris Biennale. Tinguely's art satirized automation and … Metal, fiberglass and various mechanical elements - Public work in Place Stravinsky, Paris, France. No longer looking at a static collection from a fixed point but instead, moving around in order to get a better look at which parts of the construction were moving, the spectator's experience was actually integrated into the overall effect of the work itself. Saint Phalle's use of extremely bold colors and a charismatic sense of levity on inflated anatomical elements and animal motifs characterizes her mature works. Jean Tinguely: life and work (1925–1991) As a creator of kinetic works of art, Jean Tinguely counts among the great pioneering artists of the second half of the twentieth century. Therrien (USA)
Prominent kinetic sculptor Arthur Ganson described Tinguely as his "primary spiritual artistic mentor", and paid homage to him in his work "Tinguely in Moscow". This work involved the self-destruction of a huge sculpture in front of an audience at the Museum of Modern Art in New York. 17 altered the already challenging nature of his earlier metamechanical works by introducing a product directly affected by the spectator. Weighing almost seven tons and standing 30 feet high, the artwork was created by Swiss sculptor Jean Tinguely. Artwork page for ‘Chaos I’, Jean Tinguely, 1972. Jean Tinguely died in 1991 at the age of 66 years in the Bern Hospital after a heart illness. Tinguely and his first wife, Swiss painter and sculptor Eva Aeppli, relocated to France in the early 1950s, where he became involved with the Parisian avant-garde movement, meeting artists … The launch of this intricate, self-destructing sculpture changed the nature of Tinguely's art. Wire wheels, to which are connected organically-shaped flat cardboard pieces, painted white on one side and black on the other, are strategically intertwined with stick-straight elements in an interlocking system. The idea to put assemblages such as this into movement was significant as it evoked an interactive relationship between the spectator and the object. Built out of various pieces of metal, bicycle parts, self-operating motors, a go-cart, a bathtub, a piano, all jutting out into space at odd angles and creating an absolute tangle of abstract forms. They moved to Basel later the same year and remained there for the rest of Tinguely’s childhood. The result is a far more austere, minimalistic work. When put into motion, the turning wheels would activate the chosen drawing tool, moving it along a piece of paper. 2 (1962), detonated successfully in front of an audience gathered in the desert outside Las Vegas. The viewer is invited to choose a drawing tool (color, charcoal, or pencil) and place it in the special holder mounted on the assemblage. Tinguely developed his kinetic sculptures known as “metamatics” to explore the absurd side of humanity's reliance on technology. The only thing lacking in this indoor exhibition are the profusing life-giving water jets of the Fountain Sculptures. They tended to take bits and pieces from life and combine them in new ways in order to infuse art with new significance. His best-known work, a self-destroying sculpture titled Homage to New York (1960), only partially self-destructed at the Museum of Modern Art, New York City, although his later work, Study for an End of the World No. Sep 21, 2018 - Explore Lucmas's board "Jean Tinguely" on Pinterest. In this early example the artist assembles simple, found objects of the type elevated to artistic status by the Dada artists by whom he was influenced earlier. This work was commissioned by Tinguely's loyal patron, the Bechtler family, and was the last created before his death in 1991. At the heart of his work was a preoccupation with the machine. Stedelijk Museum, Amsterdam The artist's development of this field, otherwise known as Kinetic art, is exemplified by Metamechanical Sculpture with Tripod. Paper can be seen cascading down the side of the structure, suspended from above an elevated section of the work. They work together to create a contrapuntal rhythm, like that found in musical compositions. Through a door-sized entry in the location of the woman's vagina, visitors could go into the sculpture. Of his most renowned kinetic sculpture, Homage to New York (1960), Tinguely said, “it’s a sculpture, it’s a picture, it’s an accompanist, it’s a poet, it’s decoration—this machine is a situation.” Jean Tinguely was a Swiss sculptor and painter who was most well known for his creations of kinetic art, known technically as meta-mechanics, in the grand Dada tradition. Concrete, iron and a mirrored mosaic facade - Public work in Milly-la-Forêt, France, Content compiled and written by The Art Story Contributors, Edited and revised, with Summary and Accomplishments added by Caroline Igra. Metal, wood, mechanical motor - Bechtler Museum of Modern Art, Charlotte, NC. Swiss artist Jean Tinguely’s Le Cyclop, also known as “The Head” or “The Monster in the Forest”, is a unique monument in the history of contemporary art. Jean Tinguely (22 May 1925 – 30 August 1991) was a Swiss sculptor best known for his kinetic art sculptural machines (known officially as metamechanics) that extended the Dada tradition into the later part of the 20th century. He belonged to the Parisian avantgarde in the mid-twentieth century and was one of the artists who signed the New Realist's manifesto (Nouveau réalisme) in 1960. On March 18, 1960, Tinguely unveiled what would later be considered his most famous work in the sculpture garden of the Museum of Modern Art in New York. The exhibition consisted of a sculpture of a colorful pregnant woman lying on her back with her legs wide apart. The exhibition was created by Niki de Saint-Phalle, Tinguely and Per Olof Ultvedt. Jean Tinguely (1925-1991) The Swiss sculptor and pioneer of Kinetic art Jean Tinguely was a highly ingenious individual who explored several avant-garde art movements of the 21st century, including Constructivism, as well as Neo-Dada and Surrealism. The completed structure, which eventually stood 74 feet high and weighed 350 tons, was to be an example of aesthetic collaboration by a number of artists. He showed works at the "documenta" 3, 4 and 6 in Kassel between 1964 and 1977. Like other of Tinguely's projects, its realization stretched out over the course of years, 25 to be precise, and combined the creative genius of more than ten of artists, including Arman, Cesar, Daniel Spoerri, Bernhard Luginbuhl, and Niki de Saint Phalle. Tinguely began construction on Le Cyclop in 1969 at the Milly-la-Forêt (Milly Forest) in France. Tinguely's mechanization of found objects g… View Jean Tinguely’s 4,032 artworks on artnet. For Tinguely, art was not about standing in a sterile white space, distantly gazing at a silent painting. For the event, Tinguely constructed a massive Metamechanic sculpture on site in the sculpture garden of New York’s MoMA. In this same vein, for his famed work Homage to New York(1960), the artist designed a self-destructing kinetic sculpture in the garden of The Museum of Modern Art. In Arthur Penn's Mickey One (1965) the mime-like Artist (Kamatari Fujiwara) with his self-destructive machine is an obvious Tinguely tribute. Iron, Wood, various materials, motor ... Tinguely reaped great international success for the first time in New York, when he presented a massive ensemble of machines that destroy themselves for a short period on the evening of 17 March 1960. Jean Tinguely (22 May 1925 – 30 August 1991) was a Swiss painter and sculptor. When mechanized, the elements - irregular in nature - rotate in different directions and at varying speeds; their movement is bumpy and jagged. The sculpture was 25–26 meters long, about 6 meters high and 11 meters wide. Tinguely married the artist Niki de Saint-Phalle, a close friend of his, in 1961. He produced kinetic sculptures to set art and art history in motion, in works that animated the boundary between art and life. Oct 19, 2014 - Explore victoria l outerbridge's board "jean tinguely", followed by 3704 people on Pinterest. Stravinsky Fountain is an example of their successful collaboration. Survival Research Laboratories & Mark Pauline (USA), D.A. No longer just watching a process, the viewer, by choosing an artistic instrument, plays a role in the creation of an entirely new work of art. This motorized mobile is obviously influenced by those made famous earlier by Alexander Calder. See the renowned permanent collection and special exhibitions. The use of numerous, interlaid mechanisms creates a busy experience for the viewer. Jean Tinguely - Heureka, 1964, photo via Wikimedia Sculpture by Jean Tinguely . Tinguely's art satirized the mindless overproduction of material goods in advanced industrial society. Hon-en-Katedrall (sometimes spelled "Hon-en-Katedral") was an art installation that was shown at Moderna Museet in Stockholm in 1966. He is best known for his sculptural machines or kinetic art, in the Dada tradition; known officially as metamechanics. Johann Sebastian Bach's organ music played through speakers. The result would be a work of art in itself. Jean Tinguely’s basic purpose for his art is to lampoon the unconscious over-creation of material items in modern industry. In 1971, Tinguely married his second wife, Niki de Saint Phalle with whom he collaborated on several artistic projects such as the Hon-en-Katedrall or The Cyclop. ©2020 The Art Story Foundation. Cascade is a massive 40-foot mixed media sculpture, suspended above an inlaid fountain in the main lobby of the Carillon office tower in Charlotte, NC. Included are staircases, mezzanines, and passageways; its tongue is a sliding board (almost a children's slide), which ends in a pool of water. Although he had already harnessed active viewer interaction in his Metamatics, this work's significance was to be even further enhanced by the experience of being present as it self-destructed. It was built of scaffolding and chicken wire covered with fabric and fiberglass, painted with brightly-coloured poster paint. The assemblage is balanced above an iron tripod, whose legs echo the linearity of the straight elements assembled above, and the whole fragile assemblage is set into motion. By taking on human aspects, simulating limbs that move, for example, the mechanized assemblage itself challenges the concept that machines are necessarily superior to human beings, questioning whether mechanization is actually progress. P77175 Chaos I 1972 Etching 350 × 480 (13 3/4 × 18 7/8) on Arches paper 485 × 660 (19 1/8 × 26); plate-mark 359 × 480 (14 1/8 × 18 7/8); printed by Penneguin, Paris and published by Jacques Putman, Paris in an edition of 300 Inscribed ‘Tinguely’ b.r. 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