By Roger Horrocks
"One of the main unique artists to have emerged from New Zealand, Len Lye (1901-1980) had a fondness for stream 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 an incredible suggestion -- that circulate may be the foundation for a very new form of artwork -- and he dedicated a lot of his lifestyles to it. 'Kinetic artwork is the 1st new type of artwork when you consider that pre-history, ' he boldly claimed in 1964. What did he suggest via this? and the way does his paintings in movie and sculpture endure 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 rules this day. Lye's 'big inspiration' illuminates not just his personal paintings however the ʻmystery of streamʼ in all varieties of artwork -- from dance to movie -- and in our personal lives. the following Horrocks strains 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 extraordinary tale of the way Lyeʼs unfinished tasks are being in-built New Zealand at the present time and the debate this has occasionally aroused."--Publisher's website. Read more...
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Extra info for Art that moves : the work of Len Lye
Their images tended to be urban, contemporary, geometrical or machine-like, or based on intellectual concepts and word-play, whereas Lye’s work evoked nature, ancient traditions of art and organic forms of life, with a strong sense of physicality and no words. He also drew upon the relatively unfamiliar indigenous cultures of the South Pacific. As the only film of its kind, Tusalava lapsed into obscurity. Eager to expand his animation methods, Lye began work on the second and third parts of a Tusalava trilogy, to follow the process of evolution through to ‘more humanized shapes’ involving the use of ‘marionette models’.
Licensed By Viscopy, Australia. 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.
24 He saw the old brain most strongly represented in modern artists such as Brancusi and Gaudier-Brzeska whose sculpture had physical resonance and a vivid sense of implied motion. Another reason he sought physicality in art was as an antidote to the Victorian squeamishness about sex that still dominated the local culture. He found a healthier attitude to the body reflected in the art of ancient and tribal traditions – not only African (which Lye had read about in discussions of Cubist art) but also Maori, Aboriginal and South Pacific art.