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Anthropometries of the Blue Age, performance, 9 March, 1960.
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Anthropometries of the Blue Age, performance, 9 March, 1960.
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Title
Anthropometries
of the
Blue
Age
,
performance
,
9
March
,
1960
.
Creator
Klein, Yves (French painter, sculptor, and performance artist, 1928-1962)
Date
1960-03-09
Cultural Context
French
European
Western European
Parisian
Style/Period
Modern (styles and periods)
New Realist (post-1945 style)
Theme
Performance art
Performances (entertainment events)
Body art
Painting (image-making)
Body painting
Motion
Performance artists
Artists
Men (male humans)
Women
Nudes (representations)
Nudity
Audiences
Spectators (event observers)
Orchestras (ensembles)
Ensembles (musical groups)
Musicians
Players (of games, instruments)
Sitting
Music
Musical instruments
Costume (mode of fashion)
Suits (main garments)
Tuxedoes
Paint
Cans (containers)
Containers (receptacles)
Vessels (containers)
Eye-level views
Subject
Performance art
Performances
Painting
Body painting
Locomotion
Human locomotion
Artists
Men
Dandies
Women
Nudes
Audiences
Spectators
Orchestras
Music ensembles
Musicians
Sitting
Musical instruments
Clothing & dress
Suits (Clothing)
Tuxedoes
Paints & varnishes
Cans
Containers
Description
"This
performance
exemplifies
Klein's
participation
in the
masculinist
tradition
of the
dandy
. The
self-contained
male
,
renouncing
biological
productivity
(symbolized
by the
'fecundity'
of the
paint-covered
women
launching
themselves
at
virginal
paper
surfaces)
,
ultimately
reproduces
'cleanly'
via
art.
"
(Caption
,
p.82)
; "
Symptomatically
,
Klein
wanted
to
renounce
individuality
and
'sensitize'
the
interpreter/consumer
,
yet
retain
the
authorial
mystique
of the
artist
. His
'performances'
,
which
help
to
announce
a
new
genre
of
postwar
art
,
exemplify
this. The
Anthropometries
of the
Blue
Age
,
performed
at the
Galerie
Internationale
d'Art
Contemporain
in
Paris
in
March
1960
,
both
parodied
and
confirmed
the
inflation
of the
creative
ego
,
seen
as
linked
,
inextricably
, with
masculinity
.
While
a
chamber
orchestra
played
his
[John]
Cage-influenced
Monotone
Symphony
(a
work
consisting
of
one
note
held
for
20
minutes)
,
Klein
,
wearing
a
tuxedo
,
instructed
several
naked
female
helpers
,
described
by him as
'living
paintbrushes'
, to
imprint
their
paint-smeared
bodies
onto
paper
laid
on the
floor
.
Klein
made
much
of not
'dirtying'
his
hands
with
paint
, and
officiating
at the
'birth'
of his
work
.
No
doubt
he was
ironizing
[Jackson]
Pollock's
ejaculative
'action
paintings'
,
which
were also
horizontally
oriented
and
avoided
'touch'
.
(Hans
Namuth's
dramatic
photographs
of
Pollock
painting
were
widely
circulated
in the
1950s.)
"
(Excerpt
,
pp
.
81
,
83)
People Pictured
Klein, Yves, 1928-1962
Location Depicted
Paris (France)
France
Material
Paint
Paper (fiber product)
Work Type
Performance art
Body art
Source
Hopkins, David. After Modern Art: 1945-2000. Oxford History of Art. Oxford; New York: Oxford UP, 2000. (p.82, fig.40)
Rights
Photo © Harry Shunk. © 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
826-33.jpg
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