Black nana niki de saint phalle biography
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Life & Work
In 1960, Niki and Harry separate and Harry moves to a new apartment with the children. Niki sets up a studio and continues her artistic experiments. She is included in an important group exhibition at the Musée d’Art Moderne de la Ville de Paris. By the end of the year Niki and Jean Tinguely move in together, sharing the same studio and living in an artists’ colony.
In the early 1960s Niki creates “shooting paintings” (Tirs), complex assemblages with concealed paint containers that are shot by pistol, rifle, or cannon fire. The impact of the projectile creates spontaneous effects which finish the work. The shooting paintings evolve to include elements of spectacle and performance. Niki becomes part of the Nouveau Réalisme group of artists — the only woman in a group that includes Arman, Christo, Yves Klein, Jean Tinguely, and Jacques de la Villeglé, among others.
Niki has her first solo exhibition in Paris in 1961 and becomes friends
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Summary of Niki de Saint Phalle
Niki de Saint Phalle paired bold, jubilant, and cartoonish feminine forms with dark and disturbing material in her multifaceted artistic career. Throughout, she continually disrupted long-held conventions in art, and her iconoclastic approach to her identity and society at large made her an early and important voice to both the Feminist movement and the development of early Conceptual Art. Unlike many of her contemporaries who prioritized the idea behind the work of art rather than the aesthetic demonstration of the idea, Saint Phalle's pieces were highly expressive, visually bold, and often playful - a style that celebrated aesthetics instead of interrogating its structures and conventions. She realized some of the most ambitious, immersive sculptural environments of the 20th century, and also made intensely personal, inward-looking work that reflected on her inner life and relationships. Saint Phalle's broad influence is marked by the variety of
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Niki de Saint Phalle's Inner World
Letters
A urval of the French artist's letters
Nicole RudickI first discovered Niki dem Saint Phalle (1930–2002) in someone else’s story. Her name—my nickname—leapt out at me. She was a woman artist who celebrated women, rendering them in buoyant colors, and she was French, which was catnip for me in my ungdom. (Much later, I came to understand that, having been raised in the United States, she was as American as she was French, if not more so—in her independence and in the monumentality and energy of her work.) After that, whenever I saw her igen, she was always one facet of a larger history or a passing mention in another artist’s life. (I can’t recall the identities of these others; their names are lost, and hers has persevered.)
An uncategorizable artist, Saint Phalle fits in at odd angles to any tidy story of art. From around 1953 to her death, in 2002, she made paintings, sculptures, performative works, drawings, prints, boo