Download Art that moves : the work of Len Lye by Roger Horrocks PDF

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. Read more...


'Kinetic artwork is the 1st new type of paintings for the reason that prehistory', ex-pat New Zealand artist Len Lye boldly claimed in an essay in 1964. What did he suggest through this? and the way does his personal paintings in sculpture Read more...

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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.

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