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ART . TRAVEL . HISTORIES . SOCIAL STUDIES . STUDIO WORK
Cover: Philip King Shogun 1981 Wood steel chain85 x 100 x 78 Photo: Errol Jackson Cv Journal 2/2 June 1990 Cv/VAR Archive
Recordings from Cv/VAR Archive
Cv/VAR 304 A selection of recorded conversations with leading international sculptors in which they describe their personal development, the ideas and structural preoccupations that informed their practice. The interviews were made between 1989 and 2011.
Interview recorded at the Mayor Gallery London prior to the opening of Arman Retrospective 28.06.1989. Present: James Mayor, Arman and Corice Canton Arman, questions by Nicholas James.
NJ You are Armand Pierre Arman?
APA. I was first Armand Pierre Fernandez, and when I was a kid of seventeen I loved Van Gogh. He always signed his paintings Vincent, so I decided to do the same - to sign my name Armand with a d. In a group show in 1958 the Galerie Iris Clert dropped the d in the announcement card, a printer error. I got mad, I went to Iris and said, How come my name is mutilated, nobody is going to recognise me. She said, Listen, I have got news for you kiddo, nobody knows you. (laughter). But your name is much more appealing without a d as Arman, your next show here is in November and you will be Arman.
You were a fellow student in the late 1940s with the artist Yves Klein.
Yes, we started together at a school of Judo.
Did you have the same interests?
Yes we had. In the beginning there were three young men together; Yves Klein, Claud Pascal and myself. There were a lot of people at the school, but we felt attracted to each other because we had an affinity to the spiritual side of Judo; an interest in Zen and Buddhism, and later in other religious aspects like Gurdjieff, astrology and Rosicrucianism. We were completely crazy young men, but we were very involved in the spiritual side of things, the artistic side came later. I knew Yves Klein was a well-known painter and I wanted to be a painter myself, but he really wanted at the time to become a Grand Master of Judo.
In 1954 you saw an early exhibition of Jackson Pollock paintings at the Studio Fachetti in Paris. What sort of impression did Pollocks work make on you?
I found it very striking, though it was several years before my own works developed. At the time I was taking photos of natural accumulations, like a shoal of fishes, like logs together. This was 1950-51. And suddenly, when I saw the paintings of Jackson Pollock, I said, Thats it! That feeling the surface had of all-over action really had an effect on me.
These records of natural accumulations were later transferred into your sculptures?
Yes, but while I was making these photos I was also painting, influenced very much by Surrealism and also later by the work of artists like Poliakoff and De Stael. Then in 54 everything changed with Pollock. I also saw works by Kurt Schwitters which gave me the idea to use rubber stamps in my work.
Did the printed mark interest you?
Oh yes, sure, I was fascinated. I had seen Schwitters work at Berggruens Gallery in Paris. The work of a Dutch printer Werkmann interested me, he was killed in 1944 by the Germans. He had been doing very, very interesting repetitions in printing, like MMMMM, or Lenin Lenin Lenin Lenin, things like that.
Cv Publications 2012 to 2021
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2012 January Work Bank March David Medalla David Hockney Lucian Freud Monumenta Anish Kapoor April Wiltshire May Damien Hirst June Being Tracey July Cumbria: A County Guide August London Festival October Pre-Raphaelite Brotherhood Cahill/Lucie-Smith November The Ring of Minos
2013 January Francesco Clemente James Cahill February Edward Lucie-Smith The Decline & Fall of the Avant-Garde March Kurt Schwitters Anne Blood April Robert Rauschenberg Cahill/James Chuck Close Lucie-Smith July Photography and Art Marina Vaizey/Anne Blood John Dugger October The Dance of Death Lucie-Smith December Art, Criticism & Display
2014 January Tracks 2014 July Art, Poetry and WW1 Lucie-Smith September Les Berberes et Moi Magdalena Wasiura October Liverpool Biennal Visiting Frieze Art Fair 2014 November Between Dream and Nightmare Kiefer, Polke, Richter Modern German Art Marina Vaizey December Rembrandt and Turner Edward Lucie-Smith
2015 February The Private John Singer Sargent Lucie-Smith March Leon Golub Political Painting Goya Between Two Worlds Lucie-Smith October Ai Weiwei November Through the Lens Marina Vaizey Giacometti/Auerbach December Artist & Empire Michael Craig-Martin Julia Margaret Cameron
2018 September/October William Blake Tate Britain Frieze Masters London Beautiful and Determined: Pre-Raphaelite Sisters National Portrait Gallery November Nam June Paik Tate Modern Antony Gormley Royal Academy December London Review Museums and Galleries 2019
April Book of The Gallery Projects Between Artists Painted Vistas Book of the landscape Aspects of London and Oxford City Views Artists from Cv Archive: Phillip King Therese Oulton Hughie O Donoghue Anthony Caro June Redfern David Nash Eduardo Paolozzi John Latham Stuart Brisley Felicity Powell Louise Sheridan Geoff Uglow Sheila Vollmer Richard Wilson
May/June/July/August Aubrey Beardsley by Edward Lucie-Smith Seminar on The Gallery recorded at Flat Time House October 2019 audio here Photo Works 1972-2020 Titian at the National Gallery Andy Warhol at Tate Modern Review of Tate Britain by Edward Lucie-Smith The Art World The Lives of Others Marina Vaizey
September/October Artemesia Gentileschi at the National Gallery London. Lucy Skaer at Bloomberg Space. Damien Hirst: Early Works Newport Street Gallery.
November/December Marina Vaizey:Visible Women 1 Barbara Hepworth/Bridget Riley; Anthology of Fables
January/February Richard Hamilton Cristea Roberts ; Marina Vaizey Visible Women Rachel Whiteread, Cornelia Parker, Tracey Emin.; Damien Hirst: Mental Escapology St. Moritz
March Sculptors Discourse; Nash; Caro; Brisley; Paolozzi; King; Randall-Page; Arman; Turrell; Wilding; Whiteread. Bruce Nauman Tate Modern. Gods and Goddesses-Conversation with Figures; Oxford-Paris-Berlin: Paintings by Auction;