Read more
A key contributor to Nouveau Réalisme in early 1960s Paris, Niki de Saint Phalle (1930-2002) worked alongside artists such as Arman, Yves Klein, and Jean Tinguely, scavenging real objects in place of traditional art materials. She connected art to life by instrumentalizing household items, machine parts, and even toys for her early assemblages. Saint Phalle created her first shooting painting, or Tir, in 1961, and went on to conduct these performances in such varied locations as the Impasse Ronsin in Paris, a garden in Amsterdam, a sandpit outside Stockholm, and the Malibu Hills. Reliefs made of plaster, small objects, paint, wood, and wire were punctured by the bullets of a gun.
This book provides an introduction to Saint Phalle's work, highlighting some of her most important contributions to 20th century art. From birthing mothers to harbingers of death, she created sculptures that celebrated and exposed the female form in works such as Pink Birth (1964) and Hon En Kathedral (1966). She also used real-life figures as inspiration: her early Nana sculptures are named after the artist's women friends and family members: Bénédicte, Clarice, and Elizabeth (1965). She later extended her practice to films such as Daddy (1973), artist's books including AIDS: You Can't Catch it Holding Hands (1987), and Tarot Garden, a monumental sculpture park with figures modeled on the 22 named cards of the Major Arcana figures in the Tarot deck, the karmic cards of destiny.
About the author
Janis Mink studierte Kunstgeschichte am Smith College und promovierte in Hamburg bei Martin Warnke. Sie arbeitet als Autorin und Kuratorin.
Summary
A key contributor to Nouveau Réalisme in early 1960s Paris, Niki de Saint Phalle (1930-2002) worked alongside artists such as Arman, Yves Klein, and Jean Tinguely, scavenging real objects in place of traditional art materials. She connected art to life by instrumentalizing household items, machine parts, and even toys for her early assemblages. Saint Phalle created her first shooting painting, or Tir, in 1961, and went on to conduct these performances in such varied locations as the Impasse Ronsin in Paris, a garden in Amsterdam, a sandpit outside Stockholm, and the Malibu Hills. Reliefs made of plaster, small objects, paint, wood, and wire were punctured by the bullets of a gun.
This book provides an introduction to Saint Phalle’s work, highlighting some of her most important contributions to 20th century art. From birthing mothers to harbingers of death, she created sculptures that celebrated and exposed the female form in works such as Pink Birth (1964) and Hon En Kathedral (1966). She also used real-life figures as inspiration: her early Nana sculptures are named after the artist’s women friends and family members: Bénédicte, Clarice, and Elizabeth (1965). She later extended her practice to films such as Daddy (1973), artist’s books including AIDS: You Can’t Catch it Holding Hands (1987), and Tarot Garden, a monumental sculpture park with figures modeled on the 22 named cards of the Major Arcana figures in the Tarot deck, the karmic cards of destiny.
