By Roger Horrocks
"One of the main unique artists to have emerged from New Zealand, Len Lye (1901-1980) had a keenness for stream 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 an important thought -- that circulation may be the foundation for a very new form of paintings -- and he dedicated a lot of his lifestyles to it. 'Kinetic artwork is the 1st new type of paintings considering the fact 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 principles this present day. Lye's 'big inspiration' illuminates not just his personal paintings however the ʻmystery of moveʼ in all types of paintings -- from dance to movie -- and in our personal lives. right here 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 equipment of film-making and created his kinetic sculptures. He additionally covers the outstanding tale of the way Lyeʼs unfinished tasks 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 info for Art that moves : the work of Len Lye
The scarcity of engineering materials in post-revolutionary Russia made the project extremely difficult. After its completion, the work was exhibited in Moscow, then in several other European countries. As the first ‘kinetic sculpture’, it challenged reviewers to assess it in a new way. As the manifesto had recommended, this was art that sidelined colour and line and foregrounded energy and rhythm. Some spectators saw it merely as a gimmick, or as a kind of ‘demonstration model’, and some disapproved of the idea of machinery encroaching upon art.
Kempf’s book Psychopathology that inspired Lye to start making kinetic sculpture. Kempf’s caption described the object as a ‘copulation fetish by [an] impotent negro paranoic’ instructed by God to build the ‘first church of perpetual motion’. The final image (on the right) was a metal sculpture by Lye entitled Construction. Approximately 600mm high, this was included in the Seven and Five Society’s 1928 exhibition in London. Courtesy Len Lye Foundation. 46 can be defended more strongly than most versions, for it was far from superficial.
His later art of motion had a distinctive physicality, always involving the body as well as the mind. And he kept drawing on images of nature such as sea creatures and wave patterns. As a young artist he was also strongly drawn to the indigenous cultures of New Zealand and the South Pacific. 37 38 A personality can never be entirely explained by circumstances, but some of the dramatic events of his early life must have influenced him. On the darker side, the death of his father just after his third birthday made it necessary for him to be sent to a series of foster homes, and to live most of his childhood in poverty.