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Random distribution of 40,000 squares, 1971

Serigraphy in orange and green, on thick paper, all margins, full page
Edition 198/300
Bidding closed
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About the work
P
PIASA

Editions Denise René, (F) : 79 x 79 cm à vue, (C) : 83 x 83 x 83 cm

Signed and numbered 198/300

Read more

Editions Denise René, (F) : 79 x 79 cm à vue, (C) : 83 x 83 x 83 cm

Signed and numbered 198/300

Buyer responsible for Buyer’s Premium and any applicable taxes, including VAT.

François Morellet
French, 1926–2016
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In the 1960s, Francois Morellet joined Groupe de Recherche d'Art Visuel (Visual Art Research Group, or GRAV), an experimental group that made installations using non-traditional art materials. Morellet rejected the idea of the individual genius-artist and adopted a stance that artists are facilitators. “By the early Sixties, my friends in the Groupe de Recherche d'Art Visuel and I had become convinced that the age of painting, of canvases and sculptures had come to an end, over forever,” Morellet explains. “We were passionate about modern materials that hadn’t yet been ‘polluted’ by traditional art. We particularly liked anything that could produce movement or light.” Working primarily in neon, which appealed to Morellet because it combines line, light, and, when blinking, movement, Morellet gave his enigmatic pieces incongruous titles, using puns and palindromes, to keep them from appearing too solemn.

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About the work
P
PIASA

Editions Denise René, (F) : 79 x 79 cm à vue, (C) : 83 x 83 x 83 cm

Signed and numbered 198/300

Read more

Editions Denise René, (F) : 79 x 79 cm à vue, (C) : 83 x 83 x 83 cm

Signed and numbered 198/300

Buyer responsible for Buyer’s Premium and any applicable taxes, including VAT.

François Morellet
French, 1926–2016
Follow

In the 1960s, Francois Morellet joined Groupe de Recherche d'Art Visuel (Visual Art Research Group, or GRAV), an experimental group that made installations using non-traditional art materials. Morellet rejected the idea of the individual genius-artist and adopted a stance that artists are facilitators. “By the early Sixties, my friends in the Groupe de Recherche d'Art Visuel and I had become convinced that the age of painting, of canvases and sculptures had come to an end, over forever,” Morellet explains. “We were passionate about modern materials that hadn’t yet been ‘polluted’ by traditional art. We particularly liked anything that could produce movement or light.” Working primarily in neon, which appealed to Morellet because it combines line, light, and, when blinking, movement, Morellet gave his enigmatic pieces incongruous titles, using puns and palindromes, to keep them from appearing too solemn.

Random distribution of 40,000 squares, 1971

Serigraphy in orange and green, on thick paper, all margins, full page
Edition 198/300
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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