By Roger Horrocks
"One of the main unique artists to have emerged from New Zealand, Len Lye (1901-1980) had a fondness for circulation from an early age. This fascination formed his pressing and pioneering movies and kinetic sculptures and contributed to his notable paintings in portray, images and writing. Lye had an immense inspiration -- that flow may be the foundation for a totally new form of artwork -- and he committed a lot of his lifestyles to it. 'Kinetic artwork is the 1st new class of artwork on the grounds 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 seriously acclaimed 2001 biography of Lye, makes a strong 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 flowʼ in all kinds of artwork -- 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 notable tale of the way Lyeʼs unfinished tasks are being in-built New Zealand at the present time and the talk this has occasionally aroused."--Publisher's website. Read more...
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Additional info for Art that moves : the work of Len Lye
In the library he discovered modernism and was hugely excited by it. Today, in the Internet age, it is important to realise how slowly information about modern forms of art circulated during the first decades of the 20th century. An artist in a small, marginal country like New Zealand had only a few fragments of the jigsaw. There were no modern paintings on display, and only a few black and white reproductions in print. Many of the newspaper and magazine stories about modern art were scornful, but Lye became adept at reading between the lines.
Films seriously influenced by modern art were still a rarity, and though viewers were intrigued, they were not sure how to talk about Six frames from Tusalava, 1929. The sequence reads from left to right. Courtesy Len Lye Foundation. Lye made this monkey in 1934 for his puppet animation film Peanut Vendor. Courtesy Len Lye Foundation. 52 this unique film or how to contextualise it. Other films could be linked with groups such as the Dadaists, the Surrealists or the Bauhaus. Their images tended to be urban, contemporary, geometrical or machine-like, or based on intellectual concepts and word-play, whereas Lye’s work evoked nature, ancient traditions of art and organic forms of life, with a strong sense of physicality and no words.
London 48 At first he had tried to find a ship going to Moscow, but for an artist from New Zealand there was a kind of ironic inevitability about ending up in London, centre of the British Empire. Twenty-five years old when he arrived, Lye saw himself as a late developer in comparison with his precocious heroes, the sculptor GaudierBrzeska and the poet Arthur Rimbaud. But any delay was partly a consequence of growing up so far from Europe. Fully developing his idea of kinetic art depended upon modern technology that was still beyond his means, and so far he had focused mostly on ancient, hand-made forms of art.