022Neo Dada

Neo-Dada, 1950s-60s: 

Neo-Dada, 1950s-60s Robert Rauschenberg (1925-), USA Jasper Johns (1930-), USA Yves Klein (1928-1962), France

Robert Rauschenberg (1925, Port Arthur, Texas) : 

Robert Rauschenberg (1925, Port Arthur, Texas)

Slide3: 

White Painting, 1951

Rauschenberg, 1951 Malevich, 1918: 

Rauschenberg, 1951 Malevich, 1918

Slide5: 

Crucifixion and Reflection, 1950-1951

Rauschenberg, 1950-51 Malevich, 1918: 

Rauschenberg, 1950-51 Malevich, 1918

Slide7: 

Automobile tire print, 1953

Slide8: 

Untitled (Red Painting), ca. 1953. Oil, fabric, and newspaper on canvas, with wood, 79 x 33 1/8 inches.

Slide10: 

Black Painting, 1951-1952

Slide11: 

Collection, 1954

Slide13: 

Rebus, 1955, oil and collaged paper on canvas, 96 x 131 in.

Slide14: 

Bed, 1955, Combine painting

Slide16: 

Monogram, 1955-1959

Slide18: 

Tracer, 1963, Oil and silkscreen ink on canvas, 84 x 60 in. (213.4 x 152.4 cm)

Rubens, Venus at a Mirror, c. 1615: 

Rubens, Venus at a Mirror, c. 1615

Slide20: 

Estate, 1963

Slide21: 

Harbor, 1964, Oil and silkscreen ink on canvas, 84 x 60 in. (213.4 x 152.4 cm)

Slide22: 

Retroactive I, 1964

Slide23: 

Skyway, 1964

Slide24: 

Yves Klein 1928-1962

Slide25: 

Void Performance (The Void), 1958 The Iris Clert Galerie, Paris Iris Clert invites you to honor, with all your affective presence, the lucid and positive advent of a certain reign of the sensitive. This manifestation of perceptive synthesis confirms Yves Klein's pictorial quest for an ecstatic and immediately communicable emotion. The object of this endeavor: to create, establish, and present to the public a palpable pictorial state in the limits of a picture gallery. In other words, creation of an ambience, a genuine pictorial climate, and, therefore, an invisible one. This invisible pictorial state within the gallery space should be so present and endowed with autonomous life that it should literally be what has hitherto been regarded as the best overall definition of painting: radiance.

Slide27: 

Leap into the Void

Slide28: 

International Klein Blue (IKB), IKB 79, 1959, Paint on canvas on wood

Slide29: 

Trilogy of the monochrome, 1960

Slide30: 

Victory of Samothrace, 1962

Slide32: 

The Monotone Symphony, March 9, 1960, Galerie International d' Art Contemporain in Paris Mr. Klein in a black dinner jacket proceeded to conduct a ten piece orchestra seated on one side of the gallery. The orchestra was to play Mr. Kleins' personal composition of The Monotone Symphony first written by him in 1949. This symphony consisted of one note. As the music played three female models entered the room. They were all very beautiful and totally naked. The models were conducted as if instruments by Mr. Klein. Everything had been planed and composed to go perfectly. The music played for twenty minutes as the models painted each other from the buckets of IKB Blue paint - gently pressing each other against the paper that had been placed on one wall of the gallery. Mr. Klein wearing white gloves, never touched the paint - or the models. When the symphony stopped, it was followed by a strict twenty minutes of silence - a time in which everyone in the room willingly froze themselves in their own private meditational space. At the end of the performance everyone in the audience was fully aware they had been in the presence of a genius at work. Mr. Klein had triumphed!   The performance had unquestionable poetic beauty, and Mr. Kleins' last words that night were the myth is in art. 

The Monotone Symphony, March 9, 1960, Galerie International d' Art Contemporain in Paris : 

The Monotone Symphony, March 9, 1960, Galerie International d' Art Contemporain in Paris 

Anthropometry (ANT 100), 1960 : 

Anthropometry (ANT 100), 1960

Ant 7: 

Ant 7

Slide37: 

Hiroshima.1961

Slide39: 

1961

Slide40: 

Fire Painting, 1961, Charred paper on board

"Zones of Immaterial Pictorial Sensibility“, 1962: 

"Zones of Immaterial Pictorial Sensibility“, 1962