Blurring the Boundaries of Form and Function at Allan Stone Projects
Arman (Armand Pierre Fernandez) uses different art forms to create his artworks, from painting and printing to his famous “accumulations” developed from 1959 to 1962. In “accumulations”, normal objects are taken identicals and “accumulated” inside transparent containers, becoming main subject of the artwork. The artist finds, accumulates, destroys and paints every object, giving them a new life through art; his purpose is to make the audience think about these objects, their previous life and their early uses.
In this artwork the subject is the tee, a stand used to support a stationary ball so that the player can strike it particularly in golf. Every sample is signed and numbered.
Signature: Signed in the low right.
Arman (born Armand Pierre Fernandez) was an early proponent of accumulation and scatter art. In 1959, he began displaying collections of objects in Plexiglas cases and creating installations of strewn garbage, which he called “Poubelles,” or “trash bins.” He also welded identical objects together to create larger sculptural pieces. In 1961, along with Yves Klein, Jean Tinguely, Jacques Villeglé, art critic Pierre Restany, and others, Arman founded Nouveau Réalisme, a group interested in new approaches to the concept of “reality.” Spending time in New York in the 1960s, Arman adopted destruction as a strategy for creating something new—slicing, burning, and smashing objects such as bronze statues and musical instruments to mount on canvas. Andy Warhol owned two of Arman’s Poubelles, and Arman appears in the Warhol’s 1964 film Dinner at Daley’s.
French-American, 1928-2005, Nice, France