Len Lyes exhibitions offer a concise account of the rich historical data as well as materials that guide ones appreciation of nature, art and science from different periods of time. Len Lye is a considerable seminal figure in the world of art whose work includes the artist sketches, batiks and paintings, photographic work, animation, direct filming as well as his unforgettable and extraordinary kinetic sculptures. Ideally, Len Lyes exhibition features many materials that have never been exhibited before and most notably, three of his kinetic sculptures not seen in many decades have been reconstructed specifically for the purposes of exhibition. It is evident that Lyes work is held much in major collections across the world including at the Whitney Museum of America Art, The British Film Institute, New Zealand Film Achieve and many others. His works continue to be exhibited worldwide in both local and international forums (Thomson, 2009).
Critics argue that Len Lye is the father of kinetic art as the first new category of art since pre-history. Today, Len Lye is accredited to be the most recognized artist to emerge from his country and enjoys the privileges of being the filmmaker, kinetic sculptor, photographer, painter and writer (Selz, 2008).Most of his exhibitions are influenced by his life, works and his big idea that movement of art could be the basis of his new kind of art. Therefore, many at times, the art of Len Lye is built on the mystery of movement in all forms of art, ranging from film to dance and even in our lives. Ideally, the connections are coherent in the exhibitions that they reveal much about behind the scenes information. In essence, all his exhibitions in different forms of art show how Len dreamed up and applied his new methods of filmmaking hence, creating his kinetic sculptures.
In addition, the exhibition of Len has a worldwide reputation and most of them are embedded with moving sculpture. Accordingly, Len understood that film and sculpture are aspects of the same art of motion and he therefore underscored to show the link between them. The originality of his ideas on a myriad of subjects is knitted with the thread that combines films and sculpture thus using the uncovered theory behind art (Selz, 2008).
Thomson (2009) asserts that the exhibition is vast and certainly, it can not cover a wee lunch hour and presently these exhibitions covers Lyes short films, sketches, film stencils, kinetic sculpture, batik prints and photographs. This is significantly indicative of the Lyes fascination with indigenous cultures, displayed articles, letters and copies of wires sent back in the day. Accordingly, the exhibition carries most pieces that date through 1920 to the time of his death in 1980 with each piece shedding a little more light on the man behind work.
Moreover, Lyes is an exhibition of its kind because it represents many of his films which date back in 1930 with the short pieces peppered with pop art color. Most of these mesh images, moving patterns and texts are supremely satisfying even if it means watching them just for a short span of time. Len also involves a very unique element which is a kitsch music thus making it hard to suppress the urge of breaking up in dance. It is evident that through the whole exhibition, the section of the kinetic sculpture is the most impressive one combining wood, steal and cork to create a progression of rhythmic noise made possible through the undulation of the variously sized pieces. Across the gallery, grass is present and it is operated by a push button with steel fibers making the whole spectrum to gently move giving the impression of long grass being blown by steady wind. It is surprising that this element misses out in majority of exhibition and Lye made his exhibition appear on the first glance like a bland industrial looking object and is able to produce a meditative effect in a matter of seconds (Selz, 2008).
In the exhibition that is unique in it natures, Lyes shadow portraits which are ghostly, hang on the wall to the rear of the gallery. In fact, his subjects tend to sit in front of the unexposed photographic art as he used pulsed light to expose the area around their shadowed profiles thus rendering eerie results.
However, the sculpture section pointed out a few issues because the audience needs enough time to kill between because at some point none of the sculptures are moving. Therefore, these pieces may need to be fine-tuned so that their sequencing may be coherent. The reason why his exhibition is moving is because it shows many of the artistic pieces such as animated films and the experimental film with their jazz soundtracks can only be articulated in motion which thereafter makes it very enjoyable to watch because of the color and movement.
Len Lyes exhibition equally displays some stocks of film, the tools and the techniques that he used to create them. For instance, Lyes direct film making techniques involve scratching and painting on the film. Therefore, the artistic novelty and freedom of Lyes abstract kinetic sculptures combine movement with geometry making his exhibition more of a high modernist ideal (Thomson, 2009).The formal beauty of Lyes sculpture in motion can be easily appreciated in the large dark space of the green gallery where they are perfectly light to bring out the images of the moving sculpture against the dark walls.
Anyone interested in the appreciation of Lyes art can follow up the retrospective exhibition and get the many facets of Lyes exhibitions and art because it offers one a myriad of topics to focus on. For instance, the subject matter of Lyes art keeps on changing depending on the time frame. In many countries, Lyes exhibition is collaboration between many renowned art galleries hence, serves as an opportunity to celebrate the work of art by the veteran and pioneering modern artists. This retrospective survey gives one a chance to examine Lyes artistic, exuberant and pioneering work with color, movement and sound keenly noting his creative engagement with indigenous pacific cultures as well as internationally artistic movements. Moreover, Lyes exhibition tends to be unquestionably influential as well as inspirational because, it continues to be recognized worldwide with adventurous ability at the intersection of creativity, innovation and technology. As such it is the kind of exhibition that evokes boundless imagination of wonder audiences of all ages thus inspiring younger generations of artists (Selz, 2008).
His collection of art highlights in a very specific way the evolution of his ideas in response to scientific discovery. In other words his collections and archives of exhibitions contain many of scientific articles the artists gleaned from popular press ranging from all fields. Featuring several of news clippings, the exhibition explores in a way the impact of space age discovery and atomic age anxiety in a range of media. Literary critics have held the argument tat Lyes exhibition is partly about the simple ways the present is connected to the past (Selz, 2008). In essence, the exhibitions of Lyes works are in store in archives the gallery holds and are therefore held regularly. The fragile nature of kinetic sculpture prevents the gallery from exhibiting them permanently.
Many scholars refer to Lyes exhibition as a touring exhibition because it involves a joint venture of Govett-Brewster Art Gallery, the art gallery of New South Wales and New Plymouth gallery to basically commemorate the centenary of his birth. As a result, the exhibition in most cases includes significant selection of his film, kinetic sculptures and photo-grams (Thomson, 2009).It should be noted that Lye pioneered cartoon animations as well as the technique of scratching patterns directly on the film. Accordingly, it is worth noting that in so far, the exhibitions of Len are both whimsical and witty thus revealing many underlying interests of the artists and exclusively a remarkable achievement in the history of art.
From the arrangements, designs, imagery used and choice of color, Lyes exhibition achieves inventive effects through stop-frame animations, synchronizing visuals with music as well as color printing. These shapes, inherent too much of Lyes direct paintings and animations, are derived from indigenous patterns as well as dots. Accordingly, the exhibitions use an enduring fascination for and extensive studies of pacific imagery, myths, legends and rhythm all translated into many of his theories of art, paintings and films.
A large quantity of Lyes photo-grams features his acquaintances and friends. Therefore, these photo-grams act as an extension of his interests in stencil, a method he always used in his animated films. Lyes first kinetic sculpture date is as old as when he was a student but grew into a more serious reflection of dramatic art which articulates his irrepressible addiction to motion art. For instance, their kinetic actions and sounds, their visual relationships with regard to line and loop, and his rhythm of body and dance continue not only to attract audiences worldwide but also fascinate them.
The exhibitions of Lyes have earned him a reputation of one of the worlds kinetic sculptor. This reputation continues to grow as his film works continue to exert commendable influence in New Zealand popular culture. Dubbed as the touring exhibition, it presents an opportunity to experience first hand the work of one of New Zealands most inventive artists. Particularly, Lyes exhibition is a presentation of both science and art and in some way it resonates some fundamentals about the universe. The eminent intriguing parallel scientific imagery in his art often leads the interpretation of prescient glimpse of both biological and cosmic truths at least, retrospectively.
In summary, Lyes exhibition is a powerful portrayal l of artistic representation of truth and successfully provides a series of important projects that range from film making, kinetic sculpture, painting as well as music and dance. These projects are made in such a way that they become visually compelling and comprehensive appraisal of the artists life, features of nature and the cultural significance. The exhibitions are indeed a valuable contribution to our understanding of the pacific culture in resonance with life. I recommend that anybody interested in clearly understanding the historical perspectives of the various thoughts developed by Lye in his art should make effort to visit galleries and look at Lyes exhibitions.
Critics argue that Len Lye is the father of kinetic art as the first new category of art since pre-history. Today, Len Lye is accredited to be the most recognized artist to emerge from his country and enjoys the privileges of being the filmmaker, kinetic sculptor, photographer, painter and writer (Selz, 2008).Most of his exhibitions are influenced by his life, works and his big idea that movement of art could be the basis of his new kind of art. Therefore, many at times, the art of Len Lye is built on the mystery of movement in all forms of art, ranging from film to dance and even in our lives. Ideally, the connections are coherent in the exhibitions that they reveal much about behind the scenes information. In essence, all his exhibitions in different forms of art show how Len dreamed up and applied his new methods of filmmaking hence, creating his kinetic sculptures.
In addition, the exhibition of Len has a worldwide reputation and most of them are embedded with moving sculpture. Accordingly, Len understood that film and sculpture are aspects of the same art of motion and he therefore underscored to show the link between them. The originality of his ideas on a myriad of subjects is knitted with the thread that combines films and sculpture thus using the uncovered theory behind art (Selz, 2008).
Thomson (2009) asserts that the exhibition is vast and certainly, it can not cover a wee lunch hour and presently these exhibitions covers Lyes short films, sketches, film stencils, kinetic sculpture, batik prints and photographs. This is significantly indicative of the Lyes fascination with indigenous cultures, displayed articles, letters and copies of wires sent back in the day. Accordingly, the exhibition carries most pieces that date through 1920 to the time of his death in 1980 with each piece shedding a little more light on the man behind work.
Moreover, Lyes is an exhibition of its kind because it represents many of his films which date back in 1930 with the short pieces peppered with pop art color. Most of these mesh images, moving patterns and texts are supremely satisfying even if it means watching them just for a short span of time. Len also involves a very unique element which is a kitsch music thus making it hard to suppress the urge of breaking up in dance. It is evident that through the whole exhibition, the section of the kinetic sculpture is the most impressive one combining wood, steal and cork to create a progression of rhythmic noise made possible through the undulation of the variously sized pieces. Across the gallery, grass is present and it is operated by a push button with steel fibers making the whole spectrum to gently move giving the impression of long grass being blown by steady wind. It is surprising that this element misses out in majority of exhibition and Lye made his exhibition appear on the first glance like a bland industrial looking object and is able to produce a meditative effect in a matter of seconds (Selz, 2008).
In the exhibition that is unique in it natures, Lyes shadow portraits which are ghostly, hang on the wall to the rear of the gallery. In fact, his subjects tend to sit in front of the unexposed photographic art as he used pulsed light to expose the area around their shadowed profiles thus rendering eerie results.
However, the sculpture section pointed out a few issues because the audience needs enough time to kill between because at some point none of the sculptures are moving. Therefore, these pieces may need to be fine-tuned so that their sequencing may be coherent. The reason why his exhibition is moving is because it shows many of the artistic pieces such as animated films and the experimental film with their jazz soundtracks can only be articulated in motion which thereafter makes it very enjoyable to watch because of the color and movement.
Len Lyes exhibition equally displays some stocks of film, the tools and the techniques that he used to create them. For instance, Lyes direct film making techniques involve scratching and painting on the film. Therefore, the artistic novelty and freedom of Lyes abstract kinetic sculptures combine movement with geometry making his exhibition more of a high modernist ideal (Thomson, 2009).The formal beauty of Lyes sculpture in motion can be easily appreciated in the large dark space of the green gallery where they are perfectly light to bring out the images of the moving sculpture against the dark walls.
Anyone interested in the appreciation of Lyes art can follow up the retrospective exhibition and get the many facets of Lyes exhibitions and art because it offers one a myriad of topics to focus on. For instance, the subject matter of Lyes art keeps on changing depending on the time frame. In many countries, Lyes exhibition is collaboration between many renowned art galleries hence, serves as an opportunity to celebrate the work of art by the veteran and pioneering modern artists. This retrospective survey gives one a chance to examine Lyes artistic, exuberant and pioneering work with color, movement and sound keenly noting his creative engagement with indigenous pacific cultures as well as internationally artistic movements. Moreover, Lyes exhibition tends to be unquestionably influential as well as inspirational because, it continues to be recognized worldwide with adventurous ability at the intersection of creativity, innovation and technology. As such it is the kind of exhibition that evokes boundless imagination of wonder audiences of all ages thus inspiring younger generations of artists (Selz, 2008).
His collection of art highlights in a very specific way the evolution of his ideas in response to scientific discovery. In other words his collections and archives of exhibitions contain many of scientific articles the artists gleaned from popular press ranging from all fields. Featuring several of news clippings, the exhibition explores in a way the impact of space age discovery and atomic age anxiety in a range of media. Literary critics have held the argument tat Lyes exhibition is partly about the simple ways the present is connected to the past (Selz, 2008). In essence, the exhibitions of Lyes works are in store in archives the gallery holds and are therefore held regularly. The fragile nature of kinetic sculpture prevents the gallery from exhibiting them permanently.
Many scholars refer to Lyes exhibition as a touring exhibition because it involves a joint venture of Govett-Brewster Art Gallery, the art gallery of New South Wales and New Plymouth gallery to basically commemorate the centenary of his birth. As a result, the exhibition in most cases includes significant selection of his film, kinetic sculptures and photo-grams (Thomson, 2009).It should be noted that Lye pioneered cartoon animations as well as the technique of scratching patterns directly on the film. Accordingly, it is worth noting that in so far, the exhibitions of Len are both whimsical and witty thus revealing many underlying interests of the artists and exclusively a remarkable achievement in the history of art.
From the arrangements, designs, imagery used and choice of color, Lyes exhibition achieves inventive effects through stop-frame animations, synchronizing visuals with music as well as color printing. These shapes, inherent too much of Lyes direct paintings and animations, are derived from indigenous patterns as well as dots. Accordingly, the exhibitions use an enduring fascination for and extensive studies of pacific imagery, myths, legends and rhythm all translated into many of his theories of art, paintings and films.
A large quantity of Lyes photo-grams features his acquaintances and friends. Therefore, these photo-grams act as an extension of his interests in stencil, a method he always used in his animated films. Lyes first kinetic sculpture date is as old as when he was a student but grew into a more serious reflection of dramatic art which articulates his irrepressible addiction to motion art. For instance, their kinetic actions and sounds, their visual relationships with regard to line and loop, and his rhythm of body and dance continue not only to attract audiences worldwide but also fascinate them.
The exhibitions of Lyes have earned him a reputation of one of the worlds kinetic sculptor. This reputation continues to grow as his film works continue to exert commendable influence in New Zealand popular culture. Dubbed as the touring exhibition, it presents an opportunity to experience first hand the work of one of New Zealands most inventive artists. Particularly, Lyes exhibition is a presentation of both science and art and in some way it resonates some fundamentals about the universe. The eminent intriguing parallel scientific imagery in his art often leads the interpretation of prescient glimpse of both biological and cosmic truths at least, retrospectively.
In summary, Lyes exhibition is a powerful portrayal l of artistic representation of truth and successfully provides a series of important projects that range from film making, kinetic sculpture, painting as well as music and dance. These projects are made in such a way that they become visually compelling and comprehensive appraisal of the artists life, features of nature and the cultural significance. The exhibitions are indeed a valuable contribution to our understanding of the pacific culture in resonance with life. I recommend that anybody interested in clearly understanding the historical perspectives of the various thoughts developed by Lye in his art should make effort to visit galleries and look at Lyes exhibitions.
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