Arman Works - Arman Artworks
This page presents you a large panel of arman works, different disciplines like Sculptures, Paintings, Famous Arman Accumulations, Works on paper, Colères, Poubelles, Slices, Wall Reliefs and Combustion.
Arman's first found-object sculptures (initiated in 1959) are the Poubelles (Garbage Cans), glass vitrines that he filled with carefully selected refuse. A related series, which the artist continued throughout his career, is the Accumulations, glass vitrines or Plexiglas boxes filled with numerous examples of a single type of object. Early Accumulations feature collections of gas masks, hair combs and cameras. While the use of quotidian objects connected Arman's work to Schwitters's collages and Duchamp's readymades, in the context of postwar Europe his Accumulations also evoked the victims of the Nazi death camps, who left behind stacks of discarded personal items.
In 1960, Arman used his Poubelle technique in an artistic response to a work by fellow Nouveau Realiste Yves Klein, whom he had known since 1947 (when they met while teaching at the same judo school). After Klein presented Le Vide (The Void), a Paris gallery completely empty of art, Arman riposted with Le Plein (Full Up), the same gallery packed floor to ceiling with trash Arman had found in the streets.
A current of violence runs through many of Arman's works, from his numerous assemblages that employ smashed-up musical instruments to performance pieces such as Conscious Vandalism (1975), in which he destroyed the furnishings of an apartment with an ax and a sledge hammer. At the same time, many Accumulations offer richly articulated compositions that range from Cubist structures to Pollock-like allover fields.
Much of Arman's focus in recent decades was on public art, and his cumulative process easily lent itself to monumental outdoor works. Among his best-known public sculptures are Long Term Parking (1982), a stack of 59 cars embedded in concrete on the outskirts of Paris, and Espoir de Paix (Hope for Peace), a giant stack of tanks and other military vehicles that he created in Beirut in 1995. Although he is not usually cited as an influence on recent art, some of the most prominent contemporary artists, including Jeff Koons, Damien Hirst and Matthew Barney, use esthetic strategies pioneered by Arman.
Painting reentered Arman's art in the mid '80s, initially via assemblages of paint tubes with their contents squeezed out in rhythmically arranged blobs. One series, the Brushstrokes, comprises large canvases adorned with dozens of actual paintbrushes and the strokes they have made. A group of Brushstroke works from the mid '90s offers spirited variations on van Gogh's Starry Night. Arman's mockingly titled Serious Paintings of the last few years are canvases that feature sliced up cellos, guitars and ukuleles with wildly expressive brushstrokes applied alike to the wooden instruments and the canvas.
From 1970 on, Arman divided his time between Vence, France, and New York, becoming a U.S. citizen in 1973. In 1991, a retrospective of his work traveled to several U.S. museums. The Jeu de Paume in Paris mounted another retrospective in 1998. His most recent New York show was a survey at Marlborough Gallery in 2003. source: COPYRIGHT 2005 Brant Publications, Inc. COPYRIGHT 2005 Gale Group