François Morellet, ‘Sphere-trames’, 1962, Rago/Wright
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François Morellet

Sphere-trames, 1962

Stainless steel
23 1/2 in
59.7 cm
Bidding closed
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About the work
Provenance
RW
Rago/Wright

23.5 h × 23.5 dia in (60 × 60 cm)

This work is from the edition of 50 published by Galerie Denise …

Medium
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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François Morellet, ‘Sphere-trames’, 1962, Rago/Wright
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About the work
Provenance
RW
Rago/Wright

23.5 h × 23.5 dia in (60 × 60 cm)

This work is from the edition of 50 published by Galerie Denise René, Paris. It is registered in the Archive Morellet under number 62001e and sold with a certificate of authenticity issued by Danielle Morellet.

Medium
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.

François Morellet

Sphere-trames, 1962

Stainless steel
23 1/2 in
59.7 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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