Fotografías Iris Clert lors de l'exposition "Le Vide", Galerie Iris Clert Yves Klein

Simoen Gérard (1949) Eclatement Blanc 1973 Galerie Iris Clert crozonantiquites

Two years after the so-called exhibit "du vide" at the Galerie Iris Clert, Yves Klein did in fact take a leap, experimenting with the immaterial qualities of the void. Claude Parent, with whom the artist had the opportunity to collaborate on certain architectural projects, later confided "it was a question of a thought from within which.

Fotografías Vue de l'exposition "Le Vide", Galerie Iris Clert Yves Klein

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.

Ressources Vue de l'exposition "Basreliefs dans une forêt d'éponges", Galerie Iris Clert

Each of these spaces refers to one of nine historic 'empty' art exhibitions, including Yves Klein's legendary 'Void' held at the Galerie Iris Clert in 1958, Art & Language's 'The Air Conditioning Show', which first appeared as an article in Arts Magazine (1966-7), Bethan Huws' 'Haus Esters Piece' (1993) in the Mies van.

Two Exhibitions at Iris Clert Gallery, Paris Yves Klein’s Le Vide (The Void, 1958) and Arman’s

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.

Ressources Vernissage de l'exposition "Basreliefs dans une forêt d'éponges", Galerie Iris

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.

38 different issues of the Iris Time magazine Galerie Iris Clert in Paris, 19621975 French

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.

Photographies Iris Clert à une course de cafards Yves Klein

Le Plein (Full-up) which took place at Galerie Iris Clert, was inspired by Yves Klein's exhibition Le Vide (The Void). Klein's conceptual exhibition was also staged the Clert gallery in 1957, and consisted of an empty gallery with an empty display case. Originally planned to be shown immediately after Klein's installation, it took Arman two.

Fotografías Entrée de la Galerie Iris Clert lors de l'inauguration de l'exposition dite du

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.

Iris Clert

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.

Two Exhibitions at Iris Clert Gallery, Paris Yves Klein’s Le Vide… SOCKS

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"

Fotografías Iris Clert lors de l'exposition "Le Vide", Galerie Iris Clert Yves Klein

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.

Documentos Carton d'invitation pour l'exposition "Basreliefs dans une forêt d'éponges" à la

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 .

Iris Clert Alchetron, The Free Social Encyclopedia

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.

Photographies Vue de l'exposition "Vitesse pure et stabilité monochrome", Galerie Iris Clert

Galerie Iris Clert, Paris, France "In order to attain this indefinable of Delacroix that is the essence of painting, I became a specialist of space, which is my ultimate way of treating color. It is no longer a question of seeing color, but rather of perceiving it.

Fotografías Vue de l'exposition "Basreliefs dans une forêt d'éponges", Galerie Iris Clert

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.

Iris Clert Photos et images de collection Getty Images

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.