Press Esc to cancel. An empty gallery space. Nothing more, nothing less. However the space itself is the exhibit. Therefore, as we approached the opening of the exhibition, we wanted to try an experiment, to have the artist himself introduce the show and present to viewers the range of his projects and the scope of what they would experience in the exhibition itself.
View the Yves Klein social media material archive here. This was the first mobile application offered to the public by a Smithsonian art museum, representing a commitment to technology that enriches the experience of visitors on- and offsite. We missed you Share your best Hirshhorn memories with Hirshhorn. For his celebrated exhibition The Specialization of Sensibility in the Raw Material State of Stabilized Pictorial Sensibility, better known as The Void, at Galerie Iris Clert in Paris, he emptied the gallery of all artworks, leaving visitors in a white-walled space containing just the trace of the artists presence.
He even sold the immaterial to patrons for gold ingots, which were then thrown into the River Seine before the receipts for the transaction were set on re by their purchasers so that all that.
And in his famous Leap into the Void image by Harry Shunk and Janos Kender, which was published November 27, in the faux newspaper Dimanche, which he created for the second Avant-Garde Art Festival, Klein is actually depicted leaping into space himself, with the artist asserting in the accompanying text, to paint space, I must be in position.
I must be in space. Beyond charting a new course for art, Klein also envisioned a di erent, utopian path for society. These ideas are applied directly in his experimental range of air architecture projects, in which he proposed public spaces, fountains, and walls constructed out of natural elements like air, water, and re, elements not traditionally associated with architecture, and elaborated on his vision for cities and dwellings that will at last be exible, spiritual, and immaterial.
An artist, a showman, a thinker, an innovator, and even a magician, Klein constantly blurred boundariesbetween work and life, between painting and performance, between object and idea, between fact and ctionand de ed the common understanding and de nition of art.
His revolutionary aim was to rethink the world in spiritual and aesthetic terms, and his artworks, projects, and writings demonstrate his acute grasp of the contemporary moment, from the horror of the Second World War to the promise of space travel.
Kleins wide-ranging creative endeavors opened the door for much that followed in the s and beyond, including Pop, conceptual art, Minimalism, monochromatic painting, perceptual experimentation, and performance. Although he died in of a heart attack at age 34, the artists foresight as well as his profound and lasting in uence is clear and marks a pivotal transition in the course of twentieth-century art and culture.
Additional generous support provided by Constance R. Caplan and Lewis and Barbara Shrenksy. Glenstone and the Lisa and Steven Tananbaum Foundat ion provided generous support for the presentat ion at the Hirshhorn.
I seek, above all, to realize in my own creations that transparence, that immeasurable void in which lives the. Thursday, May 27, pmEvent: The Many Faces of YvesYves Kleins life and art were informed by a diverse body of subject matter, from judo to progressive philosophical and architectural concepts. Exhibition curator Kerry Brougher and experts in a range of elds explore multiple facets of Kleins career in this gallery event.
Friday, July 23, pmFriday Gallery Talk: Daniel MoquayDaniel Moquay, head of the Yves Klein Archives in Paris, gives a tour of the exhibition and shares his extensive knowledge of the artists career and creative process.
Friday, July 23, pm to midnightAfter HoursThis summer, After Hours celebrates Yves Klein with gallery talks, live music, and special performances on the plaza.
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