Frederick Kiesler: Artiste-architecte PDF

From 1908 to 1909, Kiesler studied at the Technische Hochschule in Vienna. 1920, and they moved to New York City in 1926, where he lived until his death. Kiesler collaborated there early on with the Frederick Kiesler: Artiste-architecte PDF, and with Marcel Duchamp.


Frederick Kiesler (1890-1965), artiste et architecte, d’origine autrichienne, émigré aux États-Unis dès 1926, est l’auteur de deux seuls bâtiments : le Film Guild Cinema à New York (1929) et le Sanctuaire du Livre à Jérusalem (1959-1965). Il est peut-être plus connu pour ses projets utopiques, depuis la City in Space (1925) à la fameuse Endless House (1950-1960), et pour ses fictions théoriques autour des concepts d’Endless et du Corréalisme. Imprégné par la tradition européenne de l uvre d’art totale, reprenant l’idée d’unité entre l’art et la vie, de continuité entre l’architecture et les arts plastiques (…), Frederick Kiesler s’est attaché à développer une pensée de l’espace transgressive, en opposition à l’hégémonie du fonctionnalisme ou du style international. Publié à l’occasion de l’exposition présentée dans la galerie Nord du Centre Georges Pompidou du 3 juillet au 21 octobre 1996. 22 x 30,5 cm.

Stefi Kiesler died in September 1965. In 1964, the year before his death, Kiesler married Lillian Olinsey, his longtime secretary and confidante, as Stefi had advised him to do while she was still living. Kiesler was productive as a theater and art-exhibition designer in the 1920s in Vienna and Berlin. In 1920, he started a brief collaboration with architect Adolf Loos and, in 1923, became a member of the De Stijl group in 1923. For it, he sought to dissolve the visual, real, image, and environment into a free-flowing space. His unorthodox architectural drawings and plans that he called « polydimensional » were somewhat akin to Surrealist automatic drawings.

During the 1950s, Kiesler created a series of paintings called Galaxies, which translated his vision of space into multi-paneled installations that protruded from the wall. Combining painting, sculpture and drawing, the Galaxies were presented as grouped units. Each painting represents a definite unit in itself just as in one family each member is of distinct individuality. These multi-paneled paintings were also sparked by the artist’s response to the political and social upheaval of his time. If the reassessment of values in these tense times is of necessity for each and all of us, one is convinced that the artist’s work too can no longer be placed in isolation: that art must strive again to become part of daily experience.

Installation view of Frederick Kiesler’s Us, You, Me at the Parrish Art Museum in 2003. Kiesler’s body of sculptural works also incorporate similar philosophies, uniting individual pieces with specific placements, further illustrating his theories of human-design relationships. Kiesler was often shunned by his peers, although he was chosen in 1952 as one of « the 15 leading artists at mid-century » by The Museum of Modern Art and in 1957 became a fellow of the Graham Foundation in Chicago. The Austrian Frederick and Lillian Kiesler Private Foundation was established in 1997 in Vienna and biennially grants the Austrian Frederick Kiesler Prize for Architecture and the Arts. Kiesler’s Pursuit of an Idea, » Progressive Architecture, vol.

FREDERICK KIESLER: THE LATE WORK US, YOU, ME AUGUST 10 – OCTOBER 12 2003″. Design’s Bad Boy », Architectural Forum, vol. Austrian Frederick and Lillian Kiesler Private Foundation. You can help by adding to it. The Art of Architecture for Art, » Art News, vol.

Stephen Phillips, « Introjection and Projection: Frederick Kiesler and His Dream Machine, » ‘Surrealism and Architecture,’ ed. Andrea Cawelti, « The Stage as a Well-Designed House: Frederick Kiesler’s Ideal Theatre », Biblion 3, no. Susan Davidson and Philip Rylands, eds. From 1908 to 1909, Kiesler studied at the Technische Hochschule in Vienna. 1920, and they moved to New York City in 1926, where he lived until his death. Kiesler collaborated there early on with the Surrealists, and with Marcel Duchamp. Stefi Kiesler died in September 1965.

In 1964, the year before his death, Kiesler married Lillian Olinsey, his longtime secretary and confidante, as Stefi had advised him to do while she was still living. Kiesler was productive as a theater and art-exhibition designer in the 1920s in Vienna and Berlin. In 1920, he started a brief collaboration with architect Adolf Loos and, in 1923, became a member of the De Stijl group in 1923. For it, he sought to dissolve the visual, real, image, and environment into a free-flowing space. His unorthodox architectural drawings and plans that he called « polydimensional » were somewhat akin to Surrealist automatic drawings. During the 1950s, Kiesler created a series of paintings called Galaxies, which translated his vision of space into multi-paneled installations that protruded from the wall. Combining painting, sculpture and drawing, the Galaxies were presented as grouped units.

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