The Niki Charitable Art Foundation (NCAF) is pleased to announce that seven of its works created by Franco-American artist Niki de Saint Phalle (1930 – 2002) have been confirmed by the Shanghai Jing’an International Sculpture Project Committee (JISP). JISP is the recipient of a generous NCAF loan that will feature Saint Phalle’s artwork at the 3rd Shanghai International Sculpture Project in Shanghai, China from 20 September – 20 November 2014. The particular selection will showcase the exhibition theme, City Paradise, and will be ondisplay outdoors at the Shanghai Jing’an Sculpture Park. Among those pieces featured will be Trois Grâces Fontaine (Three Graces Fountain, 1999), #19 Baseball Player (1999), and Obélisque bleue avec des fleurs (Blue Obelisk with Flowers, 1992).
Saint Phalle was a prolific, socially-engaged artist of the mid-twentieth century who actively explored proportion and scale, various media, techniques, and subject matter. Supreme love of color, thoughtful ornamentation, and artful documentation are all visibly reflected throughout her work. She received international acclaim for her interactive Tirs (Shooting Paintings) and voluptuous Nanas, but her unique creations also encompass found-object assemblages, colorful graphics, experimental film,and decorative arts. Furthermore, Saint Phalle’sfascination with the interrelatedness of art, monumental sculpture, and architecture continued well into her later career. Her work was always deeply personal, yet still retains a universal appeal.
In 2015, the Guggenheim Museum Bilbao will dedicate a Retrospective to Franco-American artist Niki de Saint Phalle (1930 – 2002). Saint Phalle was the only female member inducted into the Nouveaux Réalistes (New Realists) in 1961, an artistic movement founded by Pierre Restany. Often viewed as violent and transformative, Saint Phalle’s emotionally-charged work is deeply embedded with socio-political issues including feminism, gender equality, and civil rights activism.
By June of the same year, the Museum, in collaboration with the Whitney Museum of American Art in New York and the Centre Georges Pompidou in Paris, France, will offer what it intends to be a more profound exploration of the work of art icon Jeff Koons. For Fall, a third exhibition is planned which will cover the political, economical, and technological transformations that Africa has recently been experiencing. In collaboration with El vitra Design Museum, “Making Africa” will focus on a generation of architects and African artists that have transcended the limits of design, art, photography, architecture, and urbanism.
The choice of exhibitions scheduled for 2015 was decided upon following important discussions. Members of the Guggenheim Museum Bilbao’s Board of Trustees, chaired by Basque President Iñigo Urkullu, met to analyze promising statistical data which reveal a notable increase in museum visitation over the past several months. Other highly esteemed members in attendance included: Jose Luis Bilbao, Deputy General of Biscay and Chairman of the Executive Committee; Ibon Aresco, Mayor of Bilbao; and Cristina Uriarte, Minister of Education. Richard Armstrong, Director of the Guggenheim Museum, New York and Ignacio Vidarte, Director of the Guggenheim Museum, Bilbao were also present.
The ultimate celebration of Niki de Saint Phalle’s life and career will be a Retrospective at the Grand Palais in Paris, France (17 September 2014 – 2 February 2015). She still remains one of the most enigmatic artists of the 20th century. Although deeply political, Saint Phalle’s work is also extremely poetic, jubilant, and intellectual. The Franco-American has been known primarily for her revolutionary Tirs (Shooting Paintings) and voluptuous Nanas, but she also created elaborate assemblages and colorful graphics. Monumental works such as Hon – A Cathedral (1966) and her Tarot Gardens in Garavicchio, Italy (1978 – 1998) reveal Saint Phalle’s fascination with the relationship between art, architecture, and monumental sculpture.
Under the direction of renowned curator Camille Morineau, the Retrospective was organized in collaboration with the Réunion des musées nationaux – the Grand Palais and the Guggenheim Museum Bilbao, with the kind participation of the Niki Charitable Art Foundation. The exhibition benefits from loans from the Sprengel Museum in Hanover, Germany and the Musée d’Art Moderne et d’Art Contemporain (MAMAC) in Nice, France – both recipients of generous donations from the artist.
The Niki Charitable Art Foundation is proud to announce the launch of its new website! We are enthusiastic about presenting the artwork of Niki de Saint Phalle (1930 – 2002) in a fresh, modern context that encourages thoughtful discussion and generates meaningful dialogue. While our goals remain pedagogically-based, promoting a more profound understanding of the late artist, we also hope to increase general interest and make Saint Phalle’s artwork more easily accessible to the public.
Visibly engaged in civil rights activism, gender equality, and socio-political affairs, Saint Phalle is finally beginning to garner the attention worthy of such a compelling woman. Known mostly for her revolutionary Tirs (Shooting Paintings) and voluptuous Nanas, she also created elaborate assemblages and vibrant graphics. Catherine Francblin’s biography, Niki de Saint Phalle: la révolte à l’oeuvre was published in 2013, and the Galerie Georges-Philippe & Nathalie Vallois in Paris recently honored her work with an exhibition: “En joue! Assemblages & Tirs, 1958 – 1964” (8 November – 21 December 2013). The ultimate celebration of Saint Phalle’s extraordinary life and career will be the upcoming Grand Palais Retrospective in Paris, France (17 September 2014 – 2 February 2015). Under the direction of renowned curator Camille Morineau and in collaboration with the Niki Charitable Art Foundation, the exhibition will offer a clear, vivid portrait of Saint Phalle. Her fascinating body of work – a non-traditional blend of abstractionism, expressionism, and modern trends – as well as her unconventional lifestyle, often led to her being misunderstood, scorned, and sometimes ostracized. She was the female embodiment of all things diametrically opposed: beautiful, wild, seductive, and intense – a radical concept during the mid-twentieth century.
The NCAF invites you to join us during this exciting time. We will be announcing upcoming events, activities, and exhibitions on a regular basis here and via social media. We hope that Niki de Saint Phalle’s life and work continue to inspire you.
From 13 March 2014 through 5 January 2015, the Musée en Herbe in Paris, France will host the exhibition Il était une fois… la bande à Niki comprising sixty original works of art belonging to the Nouveau Réalisme (New Realism) artistic movement. La Bande refers to individuals of the Nouveaux Réalistes (New Realists), a group into which Niki de Saint Phalle was later accepted. Founding member and art critic, Pierre Restany wrote their manifesto entitled “Constitutive Declaration of New Realism” in 1960. Created during an era when Abstractionism and American Pop Art reigned supreme, the Nouveaux Réalistes proposed an alternative approach to artwork, thereby creating a new reality which welcomed the playful deconstruction and re-contextualization of everyday objects. The accumulation of found-objects were cleverly integrated into their oeuvres - the end product often being chaotic paintings, assemblages, and sculptures embedded with a unique visual language of discarded items. Members included Pierre Restany, Yves Klein, Jean Tinguely, Jacques Villeglé, Daniel Spoerri, Martial Raysse, François Dufrêne, and Raymond Hains. From 1961, the Nouveaux Réalistes expanded to include César, Mimmo, Rotella, Niki de Saint Phalle, Gérard Deschamps, and Christo. The movement was dissolved in 1970.
Organized in collaboration with the Institut national de recherches archéologiques préventives (INRAP), Il était une fois… la bande à Niki allows visitors of varying ages to discover the Nouveaux Réalistes in a fun, unconventional way with games inspired by archeological excavations. Transported to the year 3960, visitors are supplied with the appropriate archeological tools, then encouraged to unearth objects in the sand – the same objects which are located in the Nouveaux Réalistes artwork. The highly interactive exhibition stimulates the imagination, curiosity, and interest in Nouveau Réalisme. This would be last time that French artists would receive such international acclaim and recognition as a singular, collective group.
The Niki Charitable Art Foundation recently acquired the colorfully animated Arbre de Serpents Fontaine (Serpent Tree Fountain) from the Schneider Children’s Hospital in New Hyde Park, New York. In 1988, Franco-American artist Niki de Saint Phalle (1930 – 2002) was commissioned by Hélène Schneider to create the Arbre de Serpents Fontaine. The project was devised in close collaboration with Schneider and Robert Haligon, and realized over a ten-month period. Measuring 16’ 8” x 20’ 8” x 14’ 8”, the monumental sculpture is constructed of several individual pieces and carefully constructed of polyester, paint, and an assortment of mirrored and mosaic glass with gold leaf. Saint Phalle wished for the installation to be fully integrated into an innocent, utopian realm where children were free to roam, play, and dream. Arbre de Serpents Fontaine was later on extended loan to the Nassau County Museum of Art in Roslyn Harbor, New York, courtesy of Schneider Children’s Hospital. However, as a result of severe environmental damage due to harsh climatic conditions, it revealed signs of serious deterioration and general degradation. Thus, the sculpture underwent aggressive restoration in 1992.
Note: The Schneider Children’s Hospital is now known as the Steven and Alexandra Cohen Children’s Medical Center of New York.
In cooperation with the Escondido Arts Partnership/Municipal Gallery, the Niki Charitable Art Foundation (NCAF) donated a graphic print: Saint Phalle’s California Diary (Order and Chaos). NCAF has generously contributed donations to EAP since 2004. On March 22, 2014 the serigraph was part of the Panache Invitational Art Exhibition and Gala Event in Escondido, California. Order and Chaos provides a chaotic labyrinth of words as ornamentation to accompany the solitary, stately Liberty-Nana figure. Pairing elaborate, autobiographical orthography with a boldly-colored archetypal female provides an artistic medium by which progressive, feminist ideals could be expressed within the confines of a rigid Western patriarchal society. It was also a way to incorporate both mythological and astrological themes which continued to influence Saint Phalle’s work.
Jean Tinguely’s Cyclop, documents the artist’s monumental sculpture located in Milly-la-Forêt, France. With the participation of Niki de Saint Phalle, Pontus Hultén, Arman, Cesar, Restany, Larry Rivers, Jean Pierre Raynaud, Soto, Philippe Bouveret, and various others, the film presents a complete vision of Tinguely’s life, art, and relationship with artist Niki de Saint Phalle, with whom he collaborated on many projects.
Swiss artist, Jean Tinguely (1925 – 1991) was a painter and sculptor perhaps best known for his Méta-mécanique, or geometric, kinetic forms. The massive Cyclop, also referred to as “The Head” or “The Monster in the Forest,” stands seventy-four feet high and weighs an estimated three-hundred fifty tons. Completely self-financed, the massive structure encompasses four distinct art movements: Dada, Nouveau Réalisme (New Realism), Kinetic art, and l’art brut (Outsider art). It reveals the synergistic, and often times symbiotic interrelationship between science and art.
Begun in 1969 and inaugurated in 1994 by François Mitterand, President of the Republic, the Cyclop is a twentieth-century testament to the collaborative effort between artists and friends to realize Tinguely’s utopian dream for a complex, technologically advanced, monumental sculpture.
In December 2013, the Niki Charitable Art Foundaton (NCAF) donated ten graphic works of art to Milly-la-Forêt, France for exhibition and subsequent inclusion in the city’s artwork collection.
With this generous donation, NCAF wished to allow the city to lend these prints by Franco-American artist Niki de Saint Phalle (1930 – 2002) to local schools and public spaces for exhibition, thereby encouraging the implementation of art educational programs into current pedagogical methods and trends.
During a recent interview with Roxana Azimi in Le Quotidien de l’art (The Art Daily News), Bloum Cardenas, granddaughter of Niki de Saint Phalle (1930 – 2002) offers an intimate portrait of the late artist, her work, and her legacy along with biographer and art historian, Catherine Francblin. The result of a three-yearproject begun in 2010, the positive reception of Francblin’s Niki de Saint Phalle: la révolte à l’oeuvre (2013) is due in part to the successful collaborationbetween the two women. One of the primary goals was to move away from the traditional monograph in order to dismantle common misapprehensions and preconceived notions about Saint Phalle. Although the art history world in France tends to disregard artist biographies when referring to their oeuvres, both Cardenas and Francblin found that this particular format, in addition to objective distancing, allowed Saint Phalle’s prolific career and personal life to be fully highlighted. As a result, family traumas were demythicized, inaccuracies were unveiled, andthe paradoxical nature of her work could be explored, especially regarding the Nanas. Cardenas clearly states that Saint Phalle’s work is very political and is deeply embedded with socio-political issues. Although overtly joyous, the Nanas were also the embodiment of something more profound. It was the goal of both Cardenas and Francblin to go beyond this reductionist perspective of Nanas in order to reveal the concept of universal resilience. Nana Power occurred during the same era as Black Power in the United States. Black Rosy (1965) was created as an homage to African American Rosa Parks, an emblematic figure against racism and segregation.
With the active exchange of sensitive material spanning several decades, including intimate diaries and photographs, Niki de Saint Phalle: la révolte à l’oeuvre explores the emotional turmoil of Saint Phalle as a woman: an avant-garde, feminist, and political activist who continually struggled with issues of maternal inadequacies and self-esteem. According to the French, Saint Phalle did not exhibit the full spectrum of characteristics associated with a true American; according to Americans, she was distinctly French; and in the eyes of the Swiss, she was the wife of Jean Tinguely. In addition, Saint Phalle was often criticized for being a “feminine feminist,” boldly possessing traits often associated with masculinity while unabashedly embracing her femininity. It was through artwork that Saint Phalle was able to narrate her own life story, creating a colorful realm where women’s attributes were celebrated: elegance, heroism, power, and uniqueness, among many others. Saint Phalle’s career ran in parallel to that of Swiss artist Jean Tinguely (1925 – 1991), renowned for his Méta-mécanique (kinetic sculpture machines). Saint Phalle and Tinguely collaborated on many projects and married in 1971. Their personal relationship directly – and conspicuously – affected their professional relationship. When one created a supreme work of art, the other was inspired to create something even more spectacular. Both Saint Phalle and Tinguely’s work were very political, but also extremely joyful, poetic, and intellectual. The most essential element of their partnership was the profound love, respect, and admiration they shared for one another on a personal and professional level.
After the death of Tinguely, Saint Phalle established the Museum Tinguely in Basel, Switzerland and subsequently began work on her Tableaux Eclatés (Exploding Paintings) Queen Califia’s Magical Circle (2003) located in Escondido, California would ultimately be Saint Phalle’s last work. A playful mix of art history, myth, and legend, the sculpture garden is an interactive, public work of art created in the same spirit as her Tarot Gardens (1978 – 1998) in Garavicchio, Italy, and Tinguely’s Le Cyclop (1994) in Milly-la-forêt, France. Although Saint Phalle received astounding international acclaim and notoriety in the past, the sale of her work was far less robust when placed in direct comparison to contemporary standards. In order to achieve the same level of notoriety today, there must be a positive correlation between an artist’s commercial success and heightened visibility in the art world. Both Cardenas and Francblin anxiously await the Niki de Saint Phalle Retrospective at the Grand Palais in Paris 2014. Saint Phalle was a complex, multi-faceted woman whose life trajectory is comparable to no other individual. With the publication of the recent biography and upcoming exhibition, Cardenas hopes that Saint Phalle will finally garner the attention worthy of such an extraordinary woman.
Note: The original interview by Roxana Azimi first appeared in LeQuotidien de l’Art No. 480, 6 November 2013. It was translated and adapted from the French version by NCAF in June 2014.
Source: Quotidien de l’Art No. 480, 6 November 2013. Photo: Roxana Azimi