By Roger Horrocks
"One of the main unique artists to have emerged from New Zealand, Len Lye (1901-1980) had a fondness for circulate from an early age. This fascination formed his pressing and pioneering motion pictures and kinetic sculptures and contributed to his notable paintings in portray, images and writing. Lye had a huge notion -- that circulate may be the foundation for a very new form of artwork -- and he dedicated a lot of his lifestyles to it. 'Kinetic paintings is the 1st new classification of artwork due to the fact pre-history, ' he boldly claimed in 1964. What did he suggest by way of this? and the way does his paintings in movie and sculpture undergo it out? Roger Horrocks, writer of the best-selling and severely acclaimed 2001 biography of Lye, makes a strong case for the artistʼs originality and the relevance of his principles at the present time. Lye's 'big notion' illuminates not just his personal paintings however the ʻmystery of circulateʼ in all kinds of artwork -- from dance to movie -- and in our personal lives. the following 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 tools of film-making and created his kinetic sculptures. He additionally covers the notable tale of ways Lyeʼs unfinished initiatives are being in-built New Zealand this present day and the debate this has occasionally aroused."--Publisher's website. Read more...
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Extra resources for Art that moves : the work of Len Lye
M. W. 7 Around 1920, Lye was inspired by a stray comment from his favourite teacher, the talented but traditional painter Harry Linley Richardson. Richardson never talked about modern art but he was supportive of his unusual student. On this occasion, Lye heard him praise an artist for having developed his own distinctive approach to art. In the context of the art education of the period, this was a radical idea and Lye was immediately seized by it. He remembered the precise moment, months later, when he succeeded in formulating his own approach.
Although Duchamp himself did not use any of these terms at the time – not even claiming the work as ‘art’ – he is certainly a prestigious figure for kineticism to claim as its father. Since the development of conceptual art in the 1960s, his reputation has grown to eclipse Picasso’s. After a phase of making canvases with implied movement such as Coffee Mill (1911) and Nude Descending a Staircase (1912), Duchamp rejected the medium of painting and turned instead to ‘ready-mades’ (manufactured objects found by the artist and applied to his own purpose) and to devices that produced optical illusions.
His only collaborator was his Australian friend Jack Ellitt, who had followed Lye to London. He wrote rhythmic piano music to accompany Lye’s film. This was for live performance, since they could not afford a soundtrack, although the technology had recently become available. 39 This was the first animation film based on ‘modernist primitivism’. At the same time, it drew upon Lye’s ‘imagery for the description of nature processes in terms of human drama’. The film was not entirely abstract since it told a story of conflict, though its protagonists belonged to unknown species (like mysterious forms of life seen through the microscope).