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Art That Moves The Work Of Len Lye Horrocks Shirley Lye Len Horrocks

SKU: BELL-5262308

$ 31.00 ~~$ 45.00~~ (-31%)

4.1

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Art That Moves The Work Of Len Lye Horrocks Shirley Lye Len Horrocks instant download after payment.

Publisher: Auckland University Press

File Extension: PDF

File size: 12.25 MB

Pages: 257

Author: Horrocks, Shirley; Lye, Len; Horrocks, Roger

ISBN: 9781869404222, 186940422X

Language: English

Year: 2009

Product desciption

Art That Moves The Work Of Len Lye Horrocks Shirley Lye Len Horrocks by Horrocks, Shirley; Lye, Len; Horrocks, Roger 9781869404222, 186940422X instant download after payment.

"One of the most original artists to have emerged from New Zealand, Len Lye (1901-1980) had a passion for movement from an early age. This fascination shaped his urgent and pioneering films and kinetic sculptures and contributed to his remarkable work in painting, photography and writing. Lye had a big idea -- that movement could be the basis for a completely new kind of art -- and he devoted much of his life to it. 'Kinetic art is the first new category of art since pre-history, ' he boldly claimed in 1964. What did he mean by this? And how does his work in film and sculpture bear it out? Roger Horrocks, author of the best-selling and critically acclaimed 2001 biography of Lye, makes a powerful case for the artistʼs originality and the relevance of his ideas today. Lye's 'big idea' illuminates not only his own work but the ʻmystery of movementʼ in all forms of art -- from dance to film -- and in our own lives. Here Horrocks traces these connections and tells us much that is new about Lye, including behind-the-scenes information about how the artist dreamed up and applied his new methods of film-making and created his kinetic sculptures. He also covers the remarkable story of how Lyeʼs unfinished projects are being built in New Zealand today and the controversy this has sometimes aroused."--Publisher's website.
Abstract: 'Kinetic art is the first new category of art since prehistory', ex-pat New Zealand artist Len Lye boldly claimed in an essay in 1964. What did he mean by this? And how does his own work in sculpture and film bear it out?