254:“Having rejected nothingness, I discovered the void. The meaning of the immaterial pictorial zones, extracted from the depth of the void which by that time was of a very material order. Finding it unacceptable to sell these immaterial zones for money, I insisted in exchange for the highest quality of the immaterial, the highest quality of material payment – a bar of pure gold. Incredible as it may seem, I have actually sold a number of these pictorial immaterial states . . . Painting no longer appeared to me to be functionally related to the gaze, since during the blue monochrome period of 1957 I became aware of what I called the pictorial sensibility. This pictorial sensibility exists beyond our being and yet belongs in our sphere. We hold no right of possession over life itself. It is only by the intermediary of our taking possession of sensibility that we are able to purchase life. Sensibility enables us to pursue life to the level of its base material manifestations, in the exchange and barter that are the universe of space, the immense totality of nature.” Yves Klein, from the
69:"Klein's receipts verify the existence of an invisible work of art, which prove that a formal sale has taken place. As Klein establishes in his 'Ritual Rules', each buyer has two possibilities; If he pays the amount of gold agreed upon in exchange for a receipt, Klein keeps all of the gold, and the buyer does not really acquire the "authentic immaterial value" of the work. The second possibility is to buy an immaterial zone for gold and then to burn the receipt. Through this act, a perfect, definitive immaterialization is achieved, as well as the absolute inclusion of the buyer in the immaterial.... Klein presents capitalist trading strategies and illuminates his ideas about the indefinable, incalculable value of art."
275:'s ritual transaction, for instance, on 10 February 1962, concurred that the event was 'extremely awe-inspiring', ending with the noonday chimes ringing out from churches all around Paris. Blankfort, a Hollywood writer, wrote later of having "no other experience in art equal to the depth of feeling of . It evoked in me a shock of self-recognition and an explosion of awareness of time and space."
250:, covered with blue curtains to ensure there would be no way of anticipating the gallery's contents. Anyone who didn't have an invitation was charged 1,500 frs. entrance fee. It was estimated that between 2,500 and 3,000 people turned up for the opening, and Clert decided to prolong the exhibition for an extra week to accommodate the 'several hundred' visitors each day.
202:"And the gold, it was something! These leaves that literally fluttered with the least current of air on the flat cushion that one held in one hand, while the other hand caught them in the wind with a knife.... What a material! The illumination of matter in its deep physical quality, I came to embrace it during that year at the 'Savage' frame shop." —Klein
131:"Their disagreement was so strong that Klein had removed all of his art from Clert's gallery in August 1959 and had told her assistant to inform any interested buyers that his paintings were all invisible and that if a buyer wanted one, it would suffice to write a check. He further specified that the check had to be very visible."
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Clert then told this anecdote to a number of visitors to her gallery, one of whom, Peppino
Palazzoli, an Italian gallerist, expressed an interest in buying an invisible artwork from Klein; in an attempt to repair the friendship, Clert informed Klein of the sale. She also recommended that Klein design
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Any gold that wasn't thrown into the Seine ended up in Klein's concurrent series of
Monogolds; large scale works made of gold leaf. He had first come across the material's use in art whilst working in a framing workshop, Robert Savage's, in London 1949–50; he was also to encounter it used in golden
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The book took the form of a parody of a banker's chequebook. Klein printed eight books of these receipts of which five survive- apart from the first book (which contained 31 unnumbered checks for an unspecified amount of gold), each book contains 10 numbered receipts for a set value of gold; series
246:(The Void) being the most famous example; for his second major exhibition at Iris Clert's, he emptied the entire gallery, painted it white (using his patented medium) and then persuaded the French government to send Republican Guards to stand outside as sentries, at the end of a hallway painted
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balloon and a piece of metal, and then place it above a concealed electromagnet to regulate the height at which it would hover. Whilst this idea was never implemented, Klein applied for - and received - a patent on 30 June 1959, and then wrote enthusiastically about this new idea to his dealer
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on
November 18 that year, having bought the work for 20 grams of gold, valued at $ 466.20 as of November 1, 2008 The reunion with Clert was to prove short-lived, however. By the end of 1959, he would sever his affiliation with her gallery, and the
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Klein's Ritual For The
Relinquishment of the Immaterial Pictorial Sensitivity Zones, quoted in Theories and Documents of Contemporary Art by Kristine Stiles & Peter Howard Selz
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123:, who had also been experimenting with air sculptures. This led to a serious argument with Clert, who tended to side with Takis, as well as re-opening a previous feud with
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directly refute
Benjamin's central argument, that modern mass production can finally "emancipate the work of art from its parasitical dependence on ritual".
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one cheques cost 20 grams of gold, series four cost 160 grams. The value of the seventh book's cheques was listed in the
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to represent supernatural light, these encounters led Klein to associate the precious metal with immateriality:
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The use of ritual is a theme running through Klein's work, from his exhibition
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would be their last collaboration. His next exhibition, the notorious
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a 'proper receipt'. Palazzoli became the official owner of the first
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Yves Klein, Berggruen
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were sold, of which at least three involved the elaborate ritual.
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engaged in the ritual transfer of immateriality, 26 January 1962
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Yves Klein, Berggruen
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Yves Klein, Berggruen
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Yves Klein, Sidra Stich, Hayward
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The French press delighted in calling the event 'a scandal' (
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La prose du
Transsibérien et de la Petite Jehanne de France
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An essay on Klein's obsession with the Void by Jason Beale
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La Peinture et ses lois, ce qui devait sortir du Cubisme
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Blankfort quoted in Yves Klein, Stich, Cantz, 1995 p156
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Zone de sensibilité picturale immatérielle (1962-2012)
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Book Illumination in the Middle Ages; an introduction
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or at least claimed that he did; See Stich, n92, p268
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The Work of Art in the Age of Mechanical Reproduction
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It has been suggested that the work is a response to
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Yves Klein, Stich, Hayward Gallery, Cantz 1995, p139
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176:Antagonismes
175:
172:
162:Dino Buzzati
146:
142:
137:
134:
130:
103:
93:
82:
72:
68:
62:
60:
34:
33:
32:
26:
18:
1091:Arte Povera
725:(1959–1962)
248:ultramarine
232:Catholicism
196:gold ground
151:Rive Droite
44:performance
1318:Modern art
1303:French art
1293:1962 books
1287:Categories
1225:Grapefruit
1171:A Humument
1045:Surrealism
794:Fred Klein
639:Yves Klein
450:0199210608
299:References
207:The Ritual
117:Iris Clert
88:See also:
48:Yves Klein
1218:Water Yam
1050:Modernism
1002:BÏF§ZF+18
968:Vorticism
678:Hiroshima
646:Paintings
1232:Fluxus 1
1137:Dimanche
1116:Mémoires
1077:Lettrism
964:Futurism
802:(mother)
796:(father)
730:Dimanche
236:Buddhism
192:medieval
108:hydrogen
1148:Pop Art
776:Related
282:essay "
258:, 1961
244:Le Vide
213:Le Vide
194:use of
184:Buddhas
1182:Fluxus
946:Klänge
899:Cubism
790:(wife)
752:(1960)
733:(1960)
717:(1954)
689:(1962)
681:(1961)
673:(1960)
665:(1960)
657:(1959)
654:IKB 79
447:
221:votive
112:helium
96:Cascia
1130:Linee
995:BLAST
760:Color
741:Music
323:Notes
288:Zones
227:(see
188:Japan
121:Takis
63:Zones
56:Seine
1184:and
1089:and
1066:Jazz
1048:and
972:Dada
970:and
915:and
897:and
445:ISBN
234:and
138:Zone
52:gold
42:and
110:or
1289::
1079:,
1043:,
966:,
927:,
911:,
536:^
400:^
388:^
331:^
153:.
127:.
77:.
1083:,
854:e
847:t
840:v
817:"
631:e
624:t
617:v
453:.
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