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Home Single Day Newspaper (November 27th 1960), with photograph, 'The Painter of Space Hurls Himself...

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Single Day Newspaper (November 27th 1960), with photograph, 'The Painter of Space Hurls Himself into The Void'.

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Larger Image	Larger image may be viewed by UofL faculty, staff, and students only (log-in required using ULink username/password) at: http://echo.louisville.edu/login?url=http://vrc-web.louisville.edu/Jpegs/820/826-35.jpg
Title	Single Day Newspaper (November 27th 1960), with photograph, 'The Painter of Space Hurls Himself into The Void'.
Creator	Klein, Yves (French painter, sculptor, and performance artist, 1928-1962)
Date	1960
Cultural Context	French European Western European
Style/Period	New Realist (post-1945 style) Modern (styles and periods)
Theme	Photomontages Montages (visual works) Photographs Composite photographs Manipulated photographs News photographs Illustrations (layout features) Photojournalism Journalism Newspapers Serials (publications) Publications Periodicals Pages Headlines Headings Titles (documents) Articles Columns (layout features) Newspaper columns Sidebars Captions Text (layout feature) Words Lettering (layout features) Capital letters Lowercase letters Typefaces (type forms) Boldface Inscriptions Numerals Numbers Avant-garde Fantasy Imagination Rosicrucian Body art Figurative art Figures (representations) Profiles (figures) Men (male humans) Artists Painters (artists) Sculptors Performance artists Motion Architecture (object genre) Buildings Plants (vegetation) Vegetation Trees Streets Roads Eye-level views Bicyclists Bicycles Riding (traveling)
Subject	Montages Composite photographs Photographs Photojournalism Journalism Newspapers Periodicals Periodical illustrations Illustrations Newspaper headlines Lettering (Layout features) Inscriptions Numerals Fantasy Men Artists Sculptors Jumping Falling Locomotion Human locomotion Architecture Buildings Streets Roads Plants Trees Bicycles & tricycles Cyclists Cycling Riding
Description	"Klein's leap took its place among texts advertising an imaginary 'Theatre of the Void'. The image wittily pitted Klein's artistic apotheosis against other newsworthy material of the day. The first Soviet and American space launches had occurred during 1957-9, whilst Klein preempted the first man in space, the Russian Yuri Gagarin, by six months." (Caption, p.80); "Of all the New Realists Yves Klein most acutely registered the inexorable changes in art's societal role. He was a mixture of self-appointed messiah and self-aggrandizing showman. Like Salvador Dali, he set out to sell himself. That he appeared to sell off the hard-earned freedoms of avant-gardism, not least its spiritual reserves, has troubled many commentators. […] Klein was almost childishly romantic, a lover of cults and rituals. Aged 20, he became devoted to Rosicrucianism, having contacted a Californian sect immersed in the principles of Max Heindel's The Rosicrucian Cosmo-conception (1937). Their beliefs - which were only tangentially related to those of the hermetic seventeenth-century Rosicrucian Brotherhood - emphasized an evolution from the current materially bound epoch to a future age of pure spirit. They saw 'empty' space as spiritually replete, whilst matter constituted crystallized space. It was the responsibility of initiates to enlighten their brethren. Klein thus conceived of himself as the prophet of a liberating 'immateriality'. His Le Vide ['The Void', a carefully stage-managed event that consisted of an emptying and white-washing of the same space] [… ] obviously embodied the notion of a spiritually energized emptiness. (Zen Buddhism, which he became aware of on a trip to Japan in 1952-3, similarly embraces 'nothingness'. [John] Cage and [Robert] Rauschenberg, it will be recalled, were utilizing Zen principles in America at this time.) Similarly, Klein's late photo-manipulation The Painter of Space Hurls Himself in the Void pictured the artist as the avatar of human potentiality: Heindel's followers envisaged an age when men would levitate. To add to all this, Klein loved Catholicism and religious fetishism; he was a lifelong devotee of Saint Rita of Cascia." (Excerpts, pp.78-79)
People Pictured	Klein, Yves, 1928-1962
Location Depicted	Paris (France) France
Technique	Photography Printing (process) Montage (image-making technique) Photographic processes Photographic techniques
Inscription	Following are excerpts of text from the front page of Klein's imaginary Single Day Newspaper: Top left: YVES KLEIN PRÉSENTE: LE DIMANCHE 27 NOVEMBRE 1960 / La Révolution bleue continue; Top center: NUMÉRO UNIQUE / SEANCE DE 0 HEURE A 24 HEURES / Dimanche 27 Novembre; Top right: FESTIVAL D'ART D'AVANT-GARDE NOVEMBER-DÉCEMBRE 1960 / Le journal d'un seul jour; Assorted captions and headlines read: THEATRE DU VIDE / ACTUALITÉ / UN HOMME DANS L'ESPACE! / Le peintre de l'espace se jette dans le vide! / Sensibilité pure / L'ESPACE, LUI-MEME
Work Type	Photomontages Montages Composite photographs Photographs Manipulated photographs Newspapers
Source	Hopkins, David. After Modern Art: 1945-2000. Oxford History of Art. Oxford; New York: Oxford UP, 2000. (p.80, fig.39)
Rights	© ADAGP, Paris, and DACS, London, 2000.
Digital Publisher	University of Louisville Department of Fine Arts/Allen R. Hite Art Institute Visual Resources Center
Format	image/jpeg
Digital File Name	VRC 826-35.jpg
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Single Day Newspaper (November 27th 1960), with photograph, 'The Painter of Space Hurls Himself into The Void'.

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