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This gorgeous volume offers the most complete overview in print of the oeuvre of Niki de Saint Phalle, one of the most influential and popular artists of the postwar period. The French-American artist was educated according to the social codes of upper-class New York society, but boldly rejected the expectations of her family to instead choose a career in art. Moving to Paris in the 1960s, she befriended the Nouveau Realiste artists Martial Raysse, Daniel Spoerri and Jean Tinguely, creating her famous "Shooting Paintings," the "Nanas" (brightly chromatic biomorphic sculptures of female archetypes), as well as experimental films, decors and costumes for ballet productions and collaborations with Tinguely, Robert Rauschenberg and others. Saint Phalle was adept at using the media to consolidate her public image, and soon became an icon of the 1960s art scene, attaining a broad cultural profile that was furthered by her numerous public art projects, including the Tarot Garden in Tuscany and the Stravinsky Fountain in Paris. This superbly produced publication-which features a die-cut cover through which Saint Phalle peers, aiming her gun-presents her works in all media, along with ephemera and archival photographs documenting her rich career and life.Niki de Saint Phalle (1930-2002) was born near Paris and moved to the US in 1933. During her teen years Saint Phalle was a fashion model and appeared on the cover of "Life" in 1949 and, three years later, on the cover of "French Vogue." At 18 Saint Phalle eloped with author Harry Mathews and moved to Cambridge, Massachusetts, and later to Paris, where she exhibited at the Alexander Iolas Gallery. In 1971 Saint Phalle married Jean Tinguely, and throughout that decade created the public sculptures and parks for which she became celebrated. Saint Phalle died of emphysema in California in May 2002.
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The book is expansive, taking us from her beginnings with writer Harry Mathews, to happenings and the theater, to the end of her creatively fruitful life in 2002. It contains a marvelously detailed timeline, giving a sense of why a lot of her art looks the way it does -- with a palpable rage, always a contemptuousness flirting with a kind of heartbreaking and joyous beauty.--Paul Maziar "artcritical "
The show opens with collages and paintings in earnest dialogue with Pollock, Dubuffet, and Rauschenberg that the self-taught artist made between the ages of 28 and 31. From 1960 to 1963 she executed her famous Tirs (Shoot) pieces, which drip like Pollocks but which de Saint Phalle produced by shooting a rifle at balloons of colorful paint mounted on white canvases. In the early 1960s, this aristocratic Catholic woman who'd been brought up in a strict household attacked the church with sculptures in the shape of altars strewn with crucifixes. In the mid-'60s she constructed giant, heavy-hearted bride-ghosts and modern Venus of Willendorfs squeezing out babies. In perfectly calibrated formal choices, de Saint Phalle disfigured long-held articles of faith -- high art, the family, the church.
But then, seemingly out of nowhere, came the Nanas, those girls as heart-stoppingly different from de Saint Phalle's previous work as Cezanne's "The Eternal Feminine" is from any of his still lifes or Mondrian's grids are from his early writhing trees. These Nanas -- rotund, ebullient, hungry girls dressed in bold primary colors -- twirl on tippy toes and look like they're having a grand old time. They glance back at French art history to Matisse's jubilant dancers and the sturdy females of Gaston Lachaise and Aristide Maillol, and even, surprisingly, to Rodin.--Eunice Lipton "Hyperallergic "From the Inside Flap:
Beautiful, flamboyant, daring and fiercely independent, Niki de Saint Phalle (1930-2002) emerged in the 1960s as a powerful and original figure in the male-dominated art world centred on Paris. That city contains perhaps her best-known monument, the vibrant, colourful and hugely popular Fontaine Stravinsky, near the Pompidou Centre, created in 1983. This work, a collaboration with her partner Yves Tinguely, was not the first to gain her attention in her adopted home. She had already made her mark by the early 1960s, when she embarked on her famous Shooting Paintings, in which parcels of paint hidden under the plaster surface of the picture were exploded by being shot at with a 2.2 rifle, seen by many as a satirical comment on the machismo of action painting.
Aspects of femininity and the representation of womanhood were enduring themes. Her Nanas were brightly-coloured, archetypal female forms, varying from life-size to gargantuan, often depicting brides or motherhood, dazzlingly decorated with mirrors or mosaics. The largest of these, Hon, was 28 metres long, created for the Moderna Museet in Stockholm, which took the form of a gigantic, reclining Nana. Viewers could enter the structure through an opening between its legs, finding inside screenings of Greta Garbo films, viewing platforms and a milk bar in one of its breasts.
De Saint Phalle worked with some of the world's leading artists and architects, including Tinguely, Jasper Johns, Robert Rauschenberg, Larry Rivers and Mario Botta. Despite these highprofile collaborations, numerous exhibitions and important public commissions, her work has often been overlooked, or dismissed as mere entertainment. Accompanying the first major retrospective exhibition on Niki de Saint Phalle's work to be staged in Britain at Tate Liverpool in 2008, when the city is European Capital of Culture, this book will present a richly illustrated survey of her whole career, reassessing the legacy of one of Europe's most distinctive and original artists.
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Book Description Niki Museum, Tokyo, 1998. Softcover. White and color illus. wraps with hot pink title band and mylar cover; 147 pp., many color illus., one fold-out; plus 16-pp. insert. Main text is in Japanese, with English translation supplied in a separate 16-pp. booklet, and an artist statement in English that begins the book. Issued in conjunction with an exhibition of artwork by French-American artist Niki de Saint-Phalle (1930-2002). With an essay by Shizue Yoko Masuda. Features many examples of her colorful artwork. VG (Spine of pink title band is slightly faded; otherwise quite clean.). Seller Inventory # 161246
Book Description Galgiani, Phillip, 1998. Condition: Used: Good. Outer cover somewhat damaged, book itself in very good condition. Seller Inventory # OB 28/05/2015 15:20 FA Mon
Book Description Condition: Good. Book is in Japanese. We will ship books from Japan. Seller Inventory # BK-4568103193-SH
Book Description Galgiani, Phillip, 1998. Paperback. Condition: Good. Ships with Tracking Number! INTERNATIONAL WORLDWIDE Shipping available. May not contain Access Codes or Supplements. May be ex-library. Shipping & Handling by region. Buy with confidence, excellent customer service!. Seller Inventory # 4568103193