By Roger Horrocks
"One of the main unique artists to have emerged from New Zealand, Len Lye (1901-1980) had a keenness for circulate from an early age. This fascination formed his pressing and pioneering motion pictures and kinetic sculptures and contributed to his striking paintings in portray, images and writing. Lye had a tremendous inspiration -- that move may be the foundation for a very new type of paintings -- and he dedicated a lot of his existence to it. 'Kinetic paintings is the 1st new classification of paintings seeing that pre-history, ' he boldly claimed in 1964. What did he suggest through this? and the way does his paintings in movie and sculpture undergo it out? Roger Horrocks, writer of the best-selling and significantly acclaimed 2001 biography of Lye, makes a robust case for the artistʼs originality and the relevance of his rules at the present time. Lye's 'big concept' illuminates not just his personal paintings however the ʻmystery of circulationʼ in all sorts 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 tools of film-making and created his kinetic sculptures. He additionally covers the outstanding tale of the way Lyeʼs unfinished initiatives are being inbuilt New Zealand at the present time and the talk this has occasionally aroused."--Publisher's website. Read more...
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Extra info for Art that moves : the work of Len Lye
Wheels of different sizes made the shapes revolve at various speeds. Since Lye had to stand at the back to turn the handles, he needed to set up a mirror in front to view the results. After spending a great deal of time fine-tuning the results, he came independently to the same conclusion as other early experimenters such as Gabo, that making art of this kind was too difficult without engineering help. 30 Soon he was seized with a new idea – that the medium with the greatest potential to compose motion was film.
The programme was completed by two French avant-garde films, Entr’acte by René Clair from ideas by Francis Picabia, and Images Mobiles – later known as Ballet Mécanique – made by Fernand Léger and Dudley Murphy, with the help of Man Ray. 93 It may seem surprising therefore that there were almost no sequels in Germany. But Eggeling died shortly after the screening, and technical and financial problems had exhausted the other German film-makers. The impact of Sergei Eisenstein’s film Battleship Potemkin in the same year redirected the attention of the vanguard film audience to editing and new styles of narrative.
Technological changes such as the coming of sound and improved colour processes opened up exciting possibilities but they also increased the costs and technical complexities so that few artists could afford to make experimental films during the early sound era. In painting and music, the energies of the avant-garde began to ebb as Picasso and Stravinsky led a return to Neo-Classicism, and the idea of an art of movement persisted in only a few corners of the avant-garde. Above all, there were demoralising social changes, starting with the devastating impact of the Great Depression from 1929.
Art that moves : the work of Len Lye by Roger Horrocks