By Roger Horrocks
"One of the main unique artists to have emerged from New Zealand, Len Lye (1901-1980) had a fondness for flow from an early age. This fascination formed his pressing and pioneering movies and kinetic sculptures and contributed to his striking paintings in portray, images and writing. Lye had a tremendous suggestion -- that stream may be the foundation for a very new type of paintings -- and he dedicated a lot of his lifestyles to it. 'Kinetic artwork is the 1st new classification of artwork given that pre-history, ' he boldly claimed in 1964. What did he suggest by means of this? and the way does his paintings in movie and sculpture endure it out? Roger Horrocks, writer of the best-selling and seriously acclaimed 2001 biography of Lye, makes a strong case for the artistʼs originality and the relevance of his principles this present day. Lye's 'big concept' illuminates not just his personal paintings however the ʻmystery of moveʼ in all sorts of paintings -- from dance to movie -- and in our personal lives. right here Horrocks lines those connections and tells us a lot that's new approximately Lye, together with behind-the-scenes information regarding how the artist dreamed up and utilized his new equipment of film-making and created his kinetic sculptures. He additionally covers the amazing tale of the way Lyeʼs unfinished tasks are being in-built New Zealand this present day and the talk this has occasionally aroused."--Publisher's website. Read more...
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Extra resources for Art that moves : the work of Len Lye
Herbert), he produced paintings and batiks based on old brain imagery that looked like an unknown form of tribal art. Poets Robert Graves and Laura Riding commissioned a series of them as book covers for their Seizin Press. 36 But they were not based on any ‘system’ of symbolism, and even for the artist they remained ultimately mysterious. Lye knew it was high time he introduced literal movement into his work. To gain access to film equipment, he obtained a part-time job in a London animation company similar to Filmads – the Hopkins and Weir studio, which produced cartoon commercials for beer and toothpaste.
Hans Richter and Viking Eggeling (born in Sweden) started out by making scroll paintings with sequential images, an idea borrowed from the ancient art of China, before moving on to films. Richter made three Rhythm films between 1921 and 1925, later claiming that he had completed an abstract film before Ruttmann. Eggeling made two films, of which only one (Diagonal-Sinfonie) has survived. These film-makers used geometrical forms in a more austere way, and while they produced some wonderful moments, they had not mastered the medium quite as thoroughly as Ruttmann.
73 Gabo’s manifesto was the passionate expression of a concept – kinetic art – but it offered little in the way of practical details. The artist’s one great achievement in putting his theory into practice was Kinetic Construction (Standing Wave), a thin, vertical, metal rod approximately 60 cm in height, attached via springs to an electric motor at its base. When the motor caused it to vibrate, the rod seemed to dissolve into pure energy. 74 Vibration produced the illusion of ‘virtual volume’.