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IKB 79

Yves Klein's IKB 79 is one of my favourite paintings. A single sheet of dense, almost electric blue it captures the eye, and the imagination. I could sit in front of it for hours...
Klein rejected the idea of representation or personal expression in painting, and became obsessed with immaterial values, beyond the visible or tactile. He began making monochrome paintings in 1947 as a way of attaining total freedom. A decade later, he developed his trademark, patented colour, International Klein Blue (IKB). He executed a series of paintings using IKB, as well as sculptures made from objects such as sponges dipped in the colour.
(And it's a good thing to discover that the Tate has its entire catalogue online - even if not all the pictures are digitised yet.)

Comments

( 5 comments — Leave a comment )
quercus
Jan. 11th, 2005 06:37 am (UTC)
Hmmm.... Not a patch on Derek Jarman's last paintings or his film Blue, IMHO.
sbisson
Jan. 11th, 2005 06:57 am (UTC)
It really doesn't work on the web - it's one of those things you have to see in the flesh.
marypcb
Jan. 11th, 2005 06:59 am (UTC)
and as per a long discussion this morning; Cage's use of chance and non-intentional sounds in composition to take music beyond representation and into the space of making the listener both receptive and part of the performance.

But my main response to non-representational art is not so much 'I could have done that' as 'we do do that'; choosing colours to paint a wall at home, arranging logs on the beach for found art. This is as much art as 'professional' art IMO. I suppose the difference between this and BritArt or a pile of bricks is that the colours speak to me and the bricks don't.
devilgate
Jan. 11th, 2005 07:10 am (UTC)
How can you "patent" a colour? I assume this is just loose language, but if not, it's wrong on so many levels. And Cory Doctorow must be told.
srallen
Jan. 11th, 2005 09:23 am (UTC)
Much as I love this type of work, I can't look at it and not think of Steve Martin's monologue in LA Story where he describes a gripping visceral scene while looking at the camera, pointing out lighting and gestures and glances on the canvas, how the cat is too much, and the look is salacious, only to reveal a red canvas.

I giggle too much for museums these days... :)
( 5 comments — Leave a comment )