Two Exhibitions at Iris Clert Gallery, Paris Yves Klein’s Le Vide… SOCKS
Iris Clert : few names of gallery owners love as much as this one.For generations of art lovers, she remains the flamboyant icon of the post-war Parisian artistic effervescence. After a first book dedicated to Jean Fournier published in 2018, the Comité Professionnel des Galeries d'Art is proud to dedicate the second opus of the Art Gallery Collection to Iris Clert.
Ressources Vernissage de l'exposition "Basreliefs dans une forêt d'éponges", Galerie Iris
Included in Galerie Iris Clert's groundbreaking Micro-Salon d'Avril in 1957 - the gallery's first major exhibition - Untitled Blue Monochrome (IKB 266) is an exquisite, diminutive example of the monochrome works that form the cornerstone of the artist's entire output. Executed in Klein's signature blue pigment IKB or.
Simoen Gérard (1949) Eclatement Blanc 1973 Galerie Iris Clert crozonantiquites
Better known as Le Vide (The Void) it was just a white painted, empty room, except for a large cabinet. 'Nouveau réaliste' Yves Klein (1928-1962) presented it at the Iris Clert gallery in Paris from April 28 to May 15 1958. The opening night was in itself a memorable happening. The exterior window was painted in the famous IKB blue.
Documentos Carton d'invitation pour l'exposition "Basreliefs dans une forêt d'éponges" à la
Two years after Klein's minimalist show Le Vide, the French-American artist Arman, in response, held an exhibition at Galerie Iris Clert that he titled Le Plein (Full Up). Arman instead filled the entire gallery space with garbage. Correspondingly, the exhibition invitation was stuffed in a sardine can filled with trash and handed out as a multiple edition of 1500.
Iris Clert Alchetron, The Free Social Encyclopedia
The first gestures of this kind took place in Europe and included Yves Klein's Galerie Iris Clert exhibition The Void, and Arman's counter gesture The Full, held in the same gallery in 1960, as well as Daniel Buren's sealing off of Milan's Galleria Apollinaire. The apotheosis happened in the US with Christo wrapping the entire Chicago.
Fotografías Iris Clert lors de l'exposition "Le Vide", Galerie Iris Clert Yves Klein
The Galerie Iris Clert would become the venue for several of the most important and revolutionary exhibitions of the period, including Fontana's own. She showed his Nature , his large, rough, penetrated globe-like sculptures, as part of a two-gallery show at her new premises on the rue du Faubourg Saint-Honoré in 1961 and his 'celestial eggs.
12 De galerías. El encantador 'je ne sais quoi' de Iris Clert Abre el Ojo
The Iris Clert Gallery was an art gallery named after its Greek owner and curator, Iris Clert. The single-room gallery The Iris Clert Gallery was an art gallery named after its Greek owner and curator, Iris Clert. The single-room gallery was located on 3 rue des Beaux-Arts in Paris, France. It was open from 1955 to 1976 and during that time housed artworks from many successful and influential.
Fotografías Vue de l'exposition "Basreliefs dans une forêt d'éponges", Galerie Iris Clert
The single-room gallery The Iris Clert Gallery (Galerie Iris Clert in French) was an art gallery named after its Greek owner and curator, Iris Clert. The single-room gallery was located on 3 rue des Beaux-Arts in Paris, France. It was open from 1955 to 1976 and during that time housed artworks from many successful and influential artists of the.
Galerie Iris Clert, 1971 Archiwum Eustachego Kossakowskiego Muzeum Sztuki Nowoczesnej w
Galerie Iris Clert, 3, rue des Beaux-Arts, Paris, France: Dimensions: 530 x 310 x 280cm: En relation. Artworks. Artwork, 1958 Project of blue lighting of the Obelisk, Place de la Concorde, Paris. Documents. Document, 1958 Albert Camus, Note written following the opening of the exhibition known as "The Void"
Ressources Vue de l'exposition "Basreliefs dans une forêt d'éponges", Galerie Iris Clert
Despite the relationship between Klein and Clert was officially over, the artist appreciated Arman's show and declared: "After my own emptiness comes Arman's fullness. The universal memory of art was lacking his conclusive mummification of quantification." Arman, Le Plein, Galerie Iris Clert, 1960. View of the exhibition.
Fotografías Vue de l'exposition "Le Vide", Galerie Iris Clert Yves Klein
Arman, Le Plein, Galerie Iris Clert, 1960. The invitations. Read more: Yves Klein, Récit du vernissage de l'exposition "Epoque pneumatique, la sensibilité picturale immatérielle à l'état matière première" à la Galerie Iris Clert, 28 avril 1958
Iris Clert Photos et images de collection Getty Images
Robert Rauschenberg, "Ritratto di Iris Clert", 1960. Aerostatic sculpture in front of the Galerie Iris Clert during the exhibition "Propositions monochrime", Paris, 10-25 May 1957 ©Yves.
Photographs View of the exhibition "Basreliefs in a sponge forest", Galerie Iris Clert Yves
In May 1958, Yves Klein invited the Parisian art world to the Galerie Iris Clert for the opening of his latest exhibition, which was entitled The Specialisation of the Sensibility in the Raw Material State of Stabilised Pictorial Sensibility. Driven by ample press coverage, large crowds eagerly awaited the unveiling of the artist's latest creation, only to be met with nothing. The gallery.
Photographies Vue de l'exposition "Vitesse pure et stabilité monochrome", Galerie Iris Clert
Iris Clert (Greek: Ίρις Αθανασιάδη; Iris Athanasiadi; 1917 - 1986) was a Greek-born art gallery owner and curator. She owned the Iris Clert Gallery in Paris from 1955 to 1971. During its tenure, her gallery became an avant-garde hotspot in the international art scene, particularly to Yves Klein , Jean Tinguely and Arman .
38 different issues of the Iris Time magazine Galerie Iris Clert in Paris, 19621975 French
Ad Reinhardt at Galerie Iris Clert, 1963. At Ad Reinhardt's prodding, in late 1961 his Parisian dealer Iris Clert offered him a solo show in her gallery, but because of expenses and scheduling it did not become a reality until June 1963. 1 Reinhardt was elated about how great his painting looked as part of the Guggenheim survey exhibition.
Fotografías Entrée de la Galerie Iris Clert lors de l'inauguration de l'exposition dite du
Arman, The Full Up, Galerie Iris Clert, 1960. View of the exhibition. In his essay Inside The White Cube , O'Doherty identified the changing artistic attitudes towards the white wall, citing the example of Frank Stella 's early painting and his exhibition in 1964 at Leo Castelli's gallery.