Arman (November 17, 1928 – October 22, 2005) was a French-born American artist. Born Armand Fernandez in Nice, France , Arman was a painter who moved from using objects for the ink or paint traces they leave ( cachets , allures d'objet ) to using them as the artworks themselves. He is best known for his Accumulations and destruction/recomposition of objects.
22-623: Marck may refer to: Surname [ edit ] Érard de La Marck (1472–1538), prince-bishop of Liège Jan van der Marck (1929–2010) Dutch-born American art historian, and museum curator. John T. Marck, Beatles biographer who suggested that " Real Love ", which reunited the Beatles, may have its origins in a John and Yoko stage play concept Robert III de La Marck (1491–1537), marshal of France and historian William I de La Marck (1446–1485), had Prince-Bishop of Liège assassinated, which started
44-773: A citizen of the United States, he took the American civil name, "Armand Pierre Arman", but continued to use "Arman" as his public persona. From 1959 to 1962, Arman developed his most recognizable style, beginning with his two most renowned concepts: Accumulations and Poubelles (French for "trash bins"). Accumulations were collections of commonplace and similar objects which he arranged within transparent polyester castings, or within Plexiglas cases. His first welded Accumulations were created in 1962. The Poubelles were collections of strewn refuse. In 1960, he filled
66-577: A civil war William II de La Marck (1542–1578), Lord of Lumey and initially admiral of the Gueux de mer Other [ edit ] Marck, Pas-de-Calais , a commune in northern France AS Marck , association football club based in Marck County of Mark or Marck, a former county in southern Westphalia , Germany [REDACTED] Surname list This page lists people with the surname Marck . If an internal link intending to refer to
88-478: A documentation of a dinner performance by the Fluxus artist Daniel Spoerri that Warhol filmed on March 5, 1964. Throughout the portrait-screen-test film, Arman sits in profile, looking down, appearing to be entranced in his reading, seemingly unaware of Warhol's camera, only making small gestures, rubbing his eyes, and licking the corner of his mouth. He remained silent, eyes gazing over the pages of what seemed to be
110-726: A newspaper, in this four-minute, 16mm black-and-white reel. Warhol owned two of Arman's Poubelles and another accumulation called Amphetamines , which were sold at Sotheby's auction of the Andy Warhol Collection in May 1988. Fascinated with the scene in New York City , Arman took up part-time residency there from his home in Nice in 1961, after his first exhibition at the Cordier Warren Gallery. In
132-588: A police school in Nice, where he met Yves Klein and Claude Pascal . The trio bonded closely on a subsequent hitch-hiking tour around Europe. Completing his studies in 1949, Arman enrolled as a student at the École du Louvre in Paris, where he concentrated on the study of archaeology and Asian art. In 1951, he became a teacher at the Bushido Kai Judo Club in Madrid, Spain . In 1952, he served in
154-492: A specific person led you to this page, you may wish to change that link by adding the person's given name (s) to the link. Retrieved from " https://en.wikipedia.org/w/index.php?title=Marck&oldid=1009035947 " Category : Surnames Hidden categories: Articles with short description Short description is different from Wikidata All set index articles Jan van der Marck Jan van der Marck (19 August 1929 – 26 April 2010)
176-685: The Center for the Fine Arts in Miami (1980–1986), and the Detroit Institute of Arts (1986–1995). He was born in Roermond , Netherlands , on August 19, 1929, to a family in the printing and publishing businesses. He attended Radboud University Nijmegen and received his Doctor of Philosophy in 1956, and his thesis was on 19th-century Belgian book illustration. Van der Marck arrived in
198-484: The Iris Clert Gallery in Paris with trash, creating Le Plein ( The Full ) as a counterpoint to an exhibition called Le Vide ( The Void ) at the same gallery two years earlier by his friend Yves Klein . In October 1960, Arman, Yves Klein , François Dufrêne , Raymond Hains , Martial Raysse , Daniel Spoerri , Jean Tinguely , Jacques Villeglé , and art critic and philosopher Pierre Restany founded
220-486: The Nouveau Réalisme group. Joined later by Cesar , Mimmo Rotella , Niki de Saint Phalle , and Christo , the group of young artists defined themselves as bearing in common their "new perspective approaches of reality". They were reassessing the concept of art and the artist for a 20th-century consumer society by reasserting humanistic ideals in the face of industrial expansion. Arman also became affiliated with
242-726: The ZERO art movement based in Germany. In 1961, Arman made his debut in the United States, the country which was to become his second home. During this period, he explored creation via destruction. The Coupes ( Cuts ) and the Colères ( Angers ) featured sliced, burned, or smashed objects arranged on canvas, often using objects with a strong "identity" such as musical instruments (mainly violins and saxophones) or bronze statues. Arman can be seen in Andy Warhol 's film Dinner at Daley's ,
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#1732765544922264-679: The French military, completing his tour of duty as a medical orderly during the Indo-China War . Early on, it was apparent that Arman's concept of the accumulation of vast quantities of similar objects was to remain a significant component of his art. He had originally focused more attention on his abstract paintings, considering them to be of more consequence than his early accumulations of rubber stamps . In 1962, he began welding together Accumulations of similar kinds of metal objects, such as watches or axes. Inspired by an exhibition for
286-699: The German Dadaist Kurt Schwitters in 1954, Arman began working on Cachets , his first major artistic undertaking. At his third solo exhibition held in Paris's Galerie Iris Clert in 1958, Arman showed some of his first 2D accumulations he called Cachets . These rubber stamp marks on paper and fabric proved a success and provided a change of course in his career. At the time, he was signing only with his first name as an homage to Van Gogh , who also signed his works with his first name, "Vincent". In 1957, Arman chose to change his name from "Armand" to "Arman". On January 31, 1973, upon becoming
308-613: The United States in 1957, after receiving a grant from the Rockefeller Foundation to study museums and was able to learn from Meyer Schapiro at Columbia University . His first museum job was in 1963 at the Walker Art Center , where he hosted exhibitions of Arman and Lucio Fontana . He was the founding director of Museum of Contemporary Art, Chicago in 1967, where he hosted Dan Flavin's first major museum exhibition. In 1969, van der Marck hosted
330-767: The city, he met Marcel Duchamp at a dinner given by the artist and collector William Copley . First living at the Chelsea Hotel and later in Church street, while keeping a studio in Bowery , then in TriBeCa , Arman began work on large public sculptures. There were varied expressions of the Accumulations , including tools, watches, clocks, furniture, automobile parts, jewelry, and musical instruments in various stages of dismemberment. Musical instruments, specifically
352-682: The director and he taught courses at Dartmouth College . He caused a controversy by placing an oversized sculpture X-Delta by Mark di Suvero in the middle of a highly trafficked part of campus. In 1983, at the Pérez Art Museum Miami (previously called Center for the Fine Arts in Miami) van der Marck invited Christo and Jeanne-Claude to wrap 11 islands in Biscayne Bay in pink fabric, later named Surrounded Islands . Van der Marck also worked with Christo and Jeanne-Claude on
374-562: The exhibition Art by Telephone , where artists would call in the instructions on how to build and display their artwork. While he was in Chicago, van der Marck invited two unknown artists at the time, Christo and Jeanne-Claude to wrap the museum building in canvas. After the wrapping of the building in canvas, he resigned from his position. In 1974, he joined the Hood Museum of Art (previously called Hopkins Center Art Galleries) as
396-675: The strings and bronze, through his collaboration with a foundry in Normandy, France , became a major theme in Arman's work. Of Arman's Accumulations , one of the largest is Long Term Parking , which is on permanent display at the Château de Montcel in Jouy-en-Josas , France. Completed in 1982, this 60-foot (18 m) high sculpture consists of 60 mostly French cars set in 40,000 pounds (18,000 kg) of concrete. Just as ambitious
418-675: The work Running Fence in 1976 . Van der Marck was the chief curator at the Detroit Institute of Arts (DIA) from 1986 until 1995. In 1995, van der Marck was fired from his role due to a residency violation, he was required to live in Detroit and he was spending significant time in Huntington Woods instead. He died of cancer on April 26, 2010, in Huntington Woods, Michigan, at the age of 80. He married Ingeborg Lachmann in 1961; she died in 1988. His second wife
440-423: Was Sheila van der Marck, née Stamell. Arman Arman's father, Antonio Fernandez, an antiques dealer from Nice , was also an amateur artist, photographer, and cellist . From his father, Arman learned oil painting and photography . After receiving his bachelor's degree in philosophy and mathematics in 1946, Arman began studying at the École Nationale des Arts Décoratifs in Nice. He also studied judo at
462-581: Was a Dutch-born American museum administrator, art historian , and curator , focused on modern and contemporary art. Van der Marck authored and published many essays, articles and books about artists and art. He worked in various museum roles at the Walker Art Center (1962–1967), Museum of Contemporary Art, Chicago (1967–?), the University of Washington, the Hopkins Center Art Galleries at Dartmouth College (1974–1980),
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#1732765544922484-809: Was his 1995 work Hope for Peace , which was specially commissioned by the Lebanese government to commemorate 50 years of their military's service. Standing in once war-torn Beirut , the 32-metre (105 ft) monument consists of 83 tanks and military vehicles. In 1953, Arman married electronic music composer Eliane Radigue and had two daughters, Marion (1951) and Anne (1953) and one son, Yves Arman (1954–1989). In 1971, he married Corice Canton, with whom he had one daughter, Yasmine (1982) and one son, Philippe (1987). In 1989, he had his sixth and last child, Yves Cesar Arman, son of Carrole Cesar. After Arman's death in New York in 2005, some of his ashes were buried at
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