Niki de Saint Phalle
Niki de Saint Phalle | |
---|---|
Education | Self-taught in art[3] |
Known for | Sculpture, painting, filmmaking |
Notable work | Nanas Tarot Garden |
Style | Nouveau réalisme, Feminist art |
Spouse(s) |
[4] |
Awards | Prix Caran d’Ache (1994) Praemium Imperiale (2000) |
Patron(s) | Agnelli family |
Website | nikidesaintphalle |
Niki de Saint Phalle (French pronunciation:
She had a difficult and traumatic childhood and a much-disrupted education, which she wrote about many decades later. After an early marriage and two children, she began creating art in a naïve, experimental style. She first received worldwide attention for angry, violent assemblages which had been shot by firearms. These evolved into Nanas, light-hearted, whimsical, colorful, large-scale sculptures of animals, monsters, and female figures. Her most comprehensive work was the Tarot Garden, a large sculpture garden containing numerous works ranging up to house-sized creations.
Saint Phalle's idiosyncratic style has been called "outsider art"; she had no formal training in art,[3] but associated freely with many other contemporary artists, writers, and composers.[10] Her books and abundant correspondence were written and brightly-colored in a childish style, but throughout her lifetime she addressed many controversial and important global problems in the bold way which children often question and call out unacceptable neglect.[9]
Throughout her creative career, she collaborated with other well-known artists such as Jasper Johns, Robert Rauschenberg, Larry Rivers, composer John Cage, and architect Mario Botta, as well as dozens of less-known artists and craftspersons. For several decades, she worked especially closely with Swiss kinetic artist Jean Tinguely, who also became her second husband. In her later years, she suffered from multiple chronic health problems attributed to repeated exposure to airborne glass fibers and petrochemical fumes from the experimental materials she had used in her pioneering artworks, but she continued to create prolifically until the end of her life.
A critic has observed that Saint Phalle's "insistence on exuberance, emotion and sensuality, her pursuit of the figurative and her bold use of color have not endeared her to everyone in a minimalist age".[11] She was well known in Europe,[11] but her work was little-seen in the US, until her final years in San Diego. Another critic said: "The French-born, American-raised artist is one of the most significant female and feminist artists of the 20th century, and one of the few to receive recognition in the male-dominated art world during her lifetime".[12]
Early life and education (1930–1948)
Catherine Marie-Agnès Fal de Saint Phalle was born on October 29, 1930, in
Marie-Agnès was born one year after
Niki grew up in a strict
She spent most of her childhood and adolescence in New York City, and summers in Connecticut or Long Island.[21] She frequently returned to France to visit relatives,[1] becoming fluent in both French and American English.[11] In 1937, she attended school at the Convent of the Sacred Heart on East 91st Street in Manhattan. After she was expelled in 1941, she rejoined her maternal grandparents, who had moved to Princeton, New Jersey, and she briefly attended the public school there.[13]
She returned to the Upper East Side and studied there at the
During her late teenage years, Saint Phalle became a
."At one point,[when?] Gloria Steinem spotted Saint Phalle walking down Fifty-seventh Street, purseless and in a cowboy getup. In an interview quoted by the show’s curator, Ruba Katrib, in the catalogue, Steinem recalled thinking, 'That is the first free woman I have ever seen in real life. I want to be just like her.'"[23]
First marriage and children (1949–1960)
At the age of 18, Saint Phalle married Harry Mathews, whom she had first met at the age of 11 (he was 12) through her father.[20][22][24]: 91 Six years later, they again encountered each other by chance on a train to Princeton, and soon became a couple.[24]: 91 Initially, they had a civil ceremony on 6 June 1949 in New York City Hall.[24]: 91 At the urging of Niki's mother, they also had a religious rite at the French Church of New York the following February.[13][24]: 91
Although her parents accepted the union, her husband's family objected to her Catholic background and cut them off financially, causing them to resort to occasional shoplifting.[20] They moved to Cambridge, Massachusetts so Mathews could study music at Harvard University.[20][13] Saint Phalle began to paint in oils and gouaches but aimed to pursue a career in acting.[32][13] Their first child, Laura, was born in April 1951. In 1952, the small family moved to Paris, where Harry continued his studies in conducting at I’Ecole Normale de Musique.[13] The new parents were casual, even negligent in their care,[24]: 93 [20] but their children would benefit from better financial circumstances after Mathews received an inheritance.[20]
Saint Phalle rejected the staid, conservative values of her family, which dictated domestic positions for wives and particular strict rules of conduct.
For about a decade, the family would wander around France and Europe, living a
While in Paris on a modeling assignment in 1954, Saint Phalle was introduced to the American-French painter Hugh Weiss , who became both her friend and artistic mentor. He encouraged her to continue painting in her self-taught style.[13][10]
In September 1954, the small family moved to
Saint Phalle continued to paint, particularly after she and her family moved to Paris in the mid-1950s. Her first art exhibition was held in 1956 in Switzerland, where she displayed her naïve style of oil painting.[13]
In 1956, she met the Swiss artist Jean Tinguely and his wife, artist Eva Aeppli. Saint Phalle attempted her first large-scale sculpture, enlisting Tinguely to make an iron armature, which she covered with plaster and paint.[13]
In the late 1950s, Saint Phalle became ill with hyperthyroidism and tachycardia, which were eventually treated by an operation in 1958.[34]
In 1959, Saint Phalle first encountered multiple artworks by Yves Klein, Marcel Duchamp, Daniel Spoerri, Willem de Kooning, Jackson Pollock, Robert Rauschenberg, and Jasper Johns. Seeing these avant-garde works triggered her "first great artistic crisis".[24]: 42 She switched from oil painting to gouaches and gloss paint, and began to produce assemblages from household objects and castoffs.[24]: 42 By this time, she had decided to dedicate herself fully to creating art, free from the obligations of everyday family life.[24]: 75–76
In 1960, she and Harry separated by mutual agreement, and her husband moved to another apartment with their two children.[24]: 93 [20][13] At that time, her daughter Laura was nine, and her son Philip was five years old.[24]: 75 Mathews would occasionally buy artworks from his wife as a way of providing her modest support, and she would visit him and the children periodically.[24]: 93
She soon moved in with Jean Tinguely, who by then had separated from his own wife, Eva Aeppli.[24]: 95 [35] He was becoming well known for his kinetic sculptures made from cast-off mechanisms and junk. In many ways, the pair were opposites, and sometimes had violent disagreements, and frequent affairs with others.[24]: 95–98 [11] They would live together intermittently and collaborate closely on artistic projects for over a decade before marrying in 1971.[20][7][36] Two years later they separated, but remained on good terms and continued to collaborate on various projects up through Tinguely's death in 1991.[7][27]
In 1960, Tinguely introduced her to
Tirs (1961–1963)
Saint Phalle created a series of works in the early 1960s she called
Soon, she would start by embedding knives, razor blades, scissors, eggbeaters, baby-doll arms, and other household items in
Her first staged public shooting event was in February 1961, attended by Jean Tinguely, Daniel Spoerri, and Pierre Restany, among others.[38] Her early art performance/events took place in the "Impasse Ronsin", a trash-strewn back alley in the Montparnasse district of Paris. It was the site of the improvised studios of Constantin Brâncuși, Jean Tinguely, Yves Klein, Max Ernst, Les Lalanne, and other experimental artists in the 1950s and 1960s.[39]
As founder of the Nouveau réalisme ("New Realist") movement, Restany asked Saint Phalle to join this group of French artists upon seeing her performance; she would become the only female member of this group.[38][20]
The extreme expressions of violence attracted media attention, catapulting Saint Phalle into the ranks of
Saint Phalle participated in Spoerri's "Edition MAT" (Multiplication d’Art Transformable) program of multiple artwork editions, supplying simpler versions of her Tirs works, with detailed instructions on how to shoot them with a
In June 1961, Niki de Saint Phalle and Jean Tinguely joined Jasper Johns and Robert Rauschenberg in a concert-happening called Variations II, orchestrated by avant-garde American composer John Cage, and held at the American Embassy in Paris. While David Tudor played Cage compositions on the piano, the artists created their works of art on stage as the audience watched the proceedings.[38][13]
In August 1961,
In 1962, she had her first one-woman show in New York City, at the gallery run by Alexander Iolas.[21][40] It included Homage to Le Facteur Cheval, a shooting gallery where visitors could fire on one of her Tirs installations.[21][40] This began her long working relationship with the gallerist, eventually comprising at least 17 exhibitions of her work.[21]
An exclusive 1962 open-air shooting event in the
In most of these public performances, Saint Phalle was impeccably dressed in a fashionable white pantsuit.[24]: 45
By 1963, she had taken the series to galleries in New York City and Los Angeles, inviting the public to participate in the shootings. In Los Angeles, she shot a large-scale
While in New York City, Saint Phalle and Tinguely stayed in the Hotel Chelsea in 1962, and again in 1964-1965.[21] In 1963, the couple purchased an old hotel, called Auberge au Cheval Blanc ("White Horse Inn"), in
Nanas (1964–1973)
Saint Phalle next explored the various roles of women, in what would develop into her best-known and most prolific series of sculptures.[3] She started making life-size dolls of women, such as brides and mothers giving birth, monsters, and large heads. Initially, they were made of soft materials, such as wool, cloth, and papier-mâché, but they soon evolved into plaster over a wire framework and plastic toys, some painted all white.[13][6]
As the series developed into larger monumental works, Saint Phalle used composite fiberglass-reinforced polyester plastic (also known as FRP or GRP) decorated with multiple bright-colored acrylic or polyester paints. She also used polyurethane foam in many of her early sculptures.[44] These innovative materials enabled the construction of colorful, large-scale sculptures with new ease and fluidity of form. Saint Phalle unknowingly used dangerous fabrication and painting processes that released airborne glass fibers and chemicals, including styrene, epoxy, and toxic solvents.[45][24]: 57
In 1963–64, she created a series of sculptures protesting stereotypical societal roles for women, as
Over time, these figures became more joyful, whimsical, colorful, and larger in scale.[26] Inspired by a collaborative drawing with American artist Larry Rivers of his wife, her pregnant friend Clarice Price, Saint Phalle began to portray archetypal female figures with a more optimistic view of the position of women in society.[48][28][20] Gwendoline (1965) was the first major sculpture in what would become a lifetime series of these works.[49]
The newer figures took on ecstatic dance poses
By 1965, she was calling her artistic expressions of the proverbial everywoman Nanas, after a French slang word that is roughly equivalent to "broad",[28] or "chick".[3][33] The term also recalls the childish French taunt nananère.[50]: 37
The first of these freely-posed forms, made of papier-mâché, yarn, and cloth, were exhibited at the
For this show, Iolas also published Saint Phalle's first
In 1966, Saint Phalle collaborated with
The outer form was a giant, reclining sculpture of a pregnant woman (a Nana), whose voluminous interior could be entered through a door-sized
After an initial shocked silence, the installation elicited extensive public commentary in magazines and newspapers throughout the world, raising awareness of the Moderna Museet.
Around this time, Saint Phalle also designed
In 1967, Saint Phalle began working with
In August 1967, the
In 1967, she exhibited Le Paradis Fantastique ("The Fantastic Paradise"), a collaborative grouping of nine of her sculptures with six machines built by Tinguely, on the rooftop terrace of the 8-level French Pavilion at Expo 67 in Montreal.[56][57] The composition was originally conceived of as an attack by Tinguely's dark mechanical constructions upon Saint Phalle's brightly-colored animals and female figures, a kind of "amorous warfare".[58][24]: 100
Although the French Pavilion itself was popular, most visitors did not see the rooftop terrace where the sculptures were installed.
In 1968, she first disclosed that she had developed respiratory problems from exposure to dust and fumes in making her artwork.[13][51]
Starting in 1968, Saint Phalle sold Nana inflatable pool toys, which appeared in the April 1968 issue of Vogue magazine.[21] She ignored complaints from art critics, focusing on raising money for her future monumental projects.[20][13] In the coming years, she would face more criticism for over-commercializing and popularizing her artwork, but she raised significant funding that enabled her to finance several ambitious projects on her own.[41] Her production of smaller, lower-cost objects also placed her art within reach of more supporters of her causes.[9] During her career, she produced clothing, jewelry, perfume, glass or porcelain figures, furniture, and craft items, many with a Nana theme.[24]: 110
From 1969 to 1971, she worked on her first full-scale architecture project, three small sculptural houses commissioned by Rainer von Diez in southern France,[51][50]: 27 which she called Le Rêve de l'oiseau ("The Dream of the Bird"). The project was a collaboration with him and Jean Tinguely, and a forerunner of her later Tarot Garden project.
In 1969, she joined several other artists under the lead of Tinguely, starting work on Le Cyclop ("Cyclops", also known as La Tête, "The Head", or le Monstre dans la forêt, "the Monster in the forest"), in Milly-la-Forêt, near Paris.[13] Collaborators included Daniel Spoerri, Bernhard Luginbuhl, and Eva Aeppli. Eventually, 15 different people worked on the project, which would not be considered finished until 1994.[61]
In 1969 in an interview on television in her studio, she shared her views about the place of women in politics and said "I think women could administer this world much better. If Black power and women power would get together, they would take over everything. That's the solution. A new world of joy."[62][63]
In November 1970, as part of an artists' reunion celebrating the 10th anniversary of the founding of the Nouveaux Réalistes, Saint Phalle shot at an altar assemblage.[51]
On 13 July 1971, Saint Phalle and Tinguely legally married,
In 1972, she installed Golem, commissioned by the then mayor
Starting in 1972, she engaged Robert Haligon ("Fabricant de Plastiques d’Art") to help fabricate her large-scale sculptures, as well as various editions of artworks. This collaboration would continue for 25 years, including all four of his children, notably Gérard, who would take the lead in later years.[51][13] The collaboration would produce approximately 3,000 sculptures, ranging from monumental outdoors pieces to small multiple editions.[66] Saint Phalle personally trained daughter Marie Haligon to paint her multiple edition sculptures, following a master artist's prototype.[66] Initially, the artist preferred a matte paint finish, shunning shiny surfaces. However, she was forced to adopt glossy surface finishes to attain improved durability of the paints on her outdoors sculptures. Over time, she embraced this glossy visual effect, and began using mirrors and polished stones to surface her artworks.[66]
In 1972, Saint Phalle shot footage for her surreal horror film Daddy, about a deeply troubled father-daughter
In 1973, Saint Phalle worked with Tinguely and Rico Weber on a commission from Roger and Fabienne Nellens to build a playhouse in the garden of their home in seaside
In 1987,
Saint Phalle continued to create Nanas for the rest of her life, but would soon focus her attention on a comprehensive project in Italy.
Tarot Garden (1974–1998)
The Tarot Garden is not just my garden. It is also the garden of all those who helped me make it. I am the Architect of the garden. I imposed my vision because I could not do otherwise.
The garden was made with difficulties, wild enthusiasm, obsession, and most of all faith. Nothing could have stopped me.
As in all fairy tales, before finding the treasure, I met on my path dragons, sorcerers, magicians, and the Angel of Temperance.
—Niki de Saint Phalle[72]
In 1955, Saint Phalle had visited
The founding sponsors for her ambitious project were members of the Italian
In 1974, Saint Phalle created a trio of monumental Nanas installed next to the
In 1975, Saint Phalle wrote the screenplay for Un rêve plus long que la nuit ("A Dream Longer Than the Night", later also called Camélia et le Dragon), and she recruited many of her artist friends to help make it into a film, a phantasmagorical tale of dragons, monsters, and adolescence. A young girl is held captive by a dragon, manages to escape, and must explore Sept Portes du Mystère ("Seven Doors of Mystery") to find love. Saint Phalle's daughter Laura was the lead character in the film, appearing with Saint Phalle, Jean Tinguely, and other artist friends;
In 1976, she retreated to the Swiss Alps to refine her plans for the sculpture park.[51] In 1977 Ricardo Menon, an Argentinian, became her assistant; he would work closely with her until 1986.[13][78]
In 1977, she worked with the English writer Constantin Mulgrave to design sets for The Traveling Companion, based on a Hans Christian Andersen fairy tale, but the project was never completed.[51] She and Mulgrave lived together for around four years, but Tinguely remained a continually reappearing presence in her life.[24]: 101–103
In 1977, she also visited Mexico and New Mexico, in search of more extensive artistic inspirations.[51]
In 1978, Saint Phalle started to lay out her sculpture garden in an abandoned quarry in Garavicchio, Tuscany, about 100 kilometres (62 mi) north-west of Rome near the west coast of the Italian peninsula. The following year, sites were cleared, and foundations were established.[73]
In 1979, she produced the first of what would become a new series of sculptures, the Skinnies. These were flat, planar, see-through outlines of heads and figures, highlighted by patches of color. In some ways, they resembled her colorful sketches and drawings but scaled up to monumental size. The series also symbolized Saint Phalle's struggles against emphysema and illness.[79] She continued to produce her Nanas in addition to her new style of sculpture,[13] and both styles of figures would appear in her Tarot Garden project.
In 1980, Saint Phalle and her team began to build the first architectural sculpture in the garden. As the project progressed, Saint Phalle started taking lessons in the Italian language, to better communicate with local workers.
She invited artist friends from Argentina, Scotland, Holland, and France to help work on the sculptures.[20] Over time, Saint Phalle worked with dozens of people, including architects, ceramicists, ironworkers, bricklayers, painters, and mosaic artists.[82] The materials used in the Tarot Garden project would include steel, iron, cement, polyester, ceramic, mosaic glass, mirrors, and polished stones (which she called "M&M's").[12]
The structure of the more massive sculptures was very similar to the temporary Hon installation at the Moderna Museet in 1966, but this time the artworks were outdoors and needed to withstand the long-term weathering effects of sun and rain. The basic shape of the sculptures was established with frameworks made of welded steel rebar. A second layer of lighter-gauge steel reinforcement bars was added, followed by two layers of expanded metal. A specialist firm was then brought in to spray shotcrete onto the structure. A layer of tar for waterproofing and a final layer of white cement produced a sturdy, hollow structure ready for decoration.[73]
In 1980, she also began selling a series of polyester snake chairs, vases, and lamps.[13] That year, she recorded her first attack of rheumatoid arthritis, a painful disease affecting the joints of the skeleton.[13]
In 1980–1981, she designed a colorful paint scheme for a
In 1981, Saint Phalle rented a small house near the Tarot Garden and hired young people from Garavicchio to help with construction of the garden. Jean Tinguely led a Swiss team, comprising Seppi Imhoff and Rico Weber, and started welding the frames of the sculptures.[51] The following year, Dutch artist Doc Winsen (also called "Dok van Winsen") took up the welding operations.[13]
In 1982, Saint Phalle developed and marketed an
In August 1982, Saint Phalle was honored at the Street Festival of the Arts in New York City.
From 1983 until 1988 when on site,
The ground floor contained a large mirrored space with a mirrored dining table where she would serve lunch to workers and artists, beneath a chandelier Tinguely had made with a cow skull.[20] She used this motherly role to help reinforce her authority in directing the team of men she needed to help build her project.[20] Eventually, she would grow tired of the cramped space "in the womb of her mother", and after 1988 would move into a New-York-loft-style studio which she had built for herself underground at the site.[73] Her assistant Ricardo Menon would live in the Tower of Babel structure while on site, working closely with Saint Phalle and caring for her during crippling arthritis flareups.[78]
Around 1983, Saint Phalle decided to cover her Tarot Garden sculptures primarily in durable
In 1986 Menon left to attend a
The same year, Saint Phalle took some time to collaborate with
From 1987 to 1993, Saint Phalle spent more of her time in Paris, where she developed many of the smaller sculptures for the garden.[73] From time to time, she would organize gallery shows of her art, including maquettes of her more significant works, to raise funds for the garden project.[73] Saint Phalle also worked on establishing a permanent legal structure for the preservation and maintenance of the garden.[73]
In 1988, Saint Phalle participated in a worldwide touring exhibition of kites. Her contribution was a gigantic kite inspired by her oiseau amoreux ("amorous bird") series of sculptures.[49]
In 1992–1993, corrective maintenance on the Tarot Garden sculptures was performed, using new glues and silicones to attach mirrors and glass elements more securely, to withstand weathering and the touch of many visitors' hands.[73] Starting in 2021, a similar restoration process of re-attaching mirrors was ongoing with Le Cyclop, located in Milly-la-Forêt, near Paris.[90]
The Tarot Garden was under development for almost 30 years, and $5 million (roughly $11 million in 2016 dollars[20]) was spent to construct it.[91] The Foundation of the Tarot Garden was constituted in 1997 (and would attain official juridical status in 2002), and the garden officially opened to the public on 15 May 1998.[73] The completed garden (called il Giardino dei Tarocchi in Italian, and le Jardin des Tarots in French) now contains sculptures and architectural sculptures representing the 22 cards of Major Arcana found in the Tarot deck of cards, plus other smaller artworks.[92] The site covers around 2 hectares (4.9 acres) on the southern slope of the hill of Garavicchio, in Capalbio.[93] The tallest sculptures are about 15 metres (49 ft) high.[93]
Saint Phalle's friend, architect Mario Botta, built a fortress-like protective wall and a porthole-shaped gateway at the entrance to the garden, marking a distinctive separation from the outside world.[73] The entry structure also houses a ticket office, a gift shop, and restrooms for visitors.[92] Within the park, there are fountains, courtyards, a multilevel tower, and many larger-than-life mythical creatures.[73] Saint Phalle designed a brochure containing a map and other information for visitors to the garden, which is open seasonally.[72]
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Sign at entrance
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View into entrance
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Mirrored mosaic ceiling insideThe Empress
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Kitchen used by Saint Phalle inside The Empress
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Detail ofJustice
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Mosaic ceiling insideThe Tower
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Floor paving at The Tower
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Walkway inscribed with arcane symbols
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Pathway signed by Saint Phalle
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The Empress(internal view)
Later years (1990–2002)
In her final years, Saint Phalle was afflicted with emphysema,[7] asthma,[7] and severe arthritis,[10][20] which she[79] and many commentators attributed to exposure to airborne glass fibers, fumes, and petrochemicals from materials used in her artworks.[7][27][10][20][94][41] Despite these handicaps, she launched into exploring new venues, new technologies, and new art media.
In 1989, Ricardo Menon, Saint Phalle's former assistant, died of
In 1990, Saint Phalle completed Skull (Meditation Room), a 5-metre (16 ft) tall room-sized
In 1991, she produced a maquette for Le Temple Idéal ("The Ideal Temple"), a place of worship welcoming all religions, in response to the religious intolerance she saw while working in Jerusalem.[51] The city of Nîmes (France) commissioned her to build the architectural sculpture, but the project never was constructed, due to politics.[51] Over the years, she had become interested in myths and religious traditions beyond her childhood Roman Catholic upbringing, including Jewish, Hindu, Buddhist, and ancient Egyptian beliefs.
In August 1991, Jean Tinguely died suddenly of a heart attack in
In his memory, Saint Phalle created her first
Saint Phalle lost many friends and associates to AIDS, including Jean-Jacques Goetzman, who died in 1992. She memorialized him with Oiseau pour Jean-Jacques ("Bird for Jean-Jacques"), a large reflective abstract bird sculpture at Montparnasse Cemetery.[78]
As her health deteriorated, she worked on creating the
In 1994, Saint Phalle published her hand-illustrated and hand-colored memoirs Mon Secret ("My Secret") in French and revealed her childhood history of sexual abuse.[22][20][98] In 1999, she released Traces, an English-language autobiography, which she also illustrated. In 2006, Harry and Me: The Family Years; 1950–1960 was published (posthumously), consisting of her self-illustrated memoirs from the decade when she was married to Harry Mathews.
Saint Phalle moved from Paris to
In 1994 she designed a stamp for Swiss Post, with the message "Stop AIDS/Stop SIDA", for which she was awarded the Prix Caran d’Ache.[99][13] She also began a series of silkscreened works, which she called California Diary, featuring local fauna.[24]: 64 She started a new series of Totem pillars of stacked human or animal figures and anatomical fragments.[24]: 64
In 1994, she finally declared the collaborative sculpture Le Cyclop, started in 1969 by Tinguely and worked on by 15 artists, to be finished.[61] The President of France, François Mitterrand, opened the work to the general public in May.[61] To control vandalism, the installation was donated to the French state, which has taken responsibility for its safeguarding and maintenance.[61] The massive structure is 22.5 metres (74 ft) tall, weighs 350 tonnes (350,000 kg), and is filled with custom-built artworks, including a giant rolling ball sculpture.[61] Many of the artworks are kinetic, endowing the installation with constant motion, and producing loud groaning and other mechanical noises.[61]
In October 1994, the Niki Museum, dedicated to telling the story of her life and artwork, was opened in Nasu, Japan.[13] However, the Niki Museum would later be forced to close in 2011.[100][101]
In 1994, Saint Phalle worked with Peter Schamoni in making a documentary film about her life story, Niki de Saint Phalle: Wer ist das Monster – Du oder ich? ("Who is the Monster, You or I?").[13][102] In 1995, the film was awarded the Bavarian Film Award for best documentary.[24]: 110
In 1996, she began building Gila, a large dragon-shaped children's playhouse for a San Diego private residence. This project was her first use of digital techniques to enlarge drawings into full-scale construction.[13]
In 1996, she supported the opening of the Museum Tinguely in Basel, by donating 55 major sculptures and over 100 graphic works by Tinguely, which constituted much of the core collection.
In 1997, she designed snake chairs of wood with a mosaic inlay, made by Del Cover and Dave Carr.[51]
In 1998, she created a series of Black Heroes sculptures in honor of
In 1999, she debuted a monumental statue of Buddha, a one-eyed contemplative figure seated in the lotus position. The figure is covered with glittering mosaic tiles, glass, mirrors, and polished stones.
On 17 November 2000, she became an honorary citizen of
In 2001, she gave 170 pieces to the
She also designed and built for the Port of San Diego a 12-metre (39 ft) tall, 10-ton sculpture, Coming Together. The largest of her Skinnies series, the artwork consists of a colorful half female and a black-and-white half male face joined together, covered with mosaic and stones.[51] The dedication ceremony was delayed to 25 October 2001 because of the September 11 attacks the previous month; the artist was unable to attend because of her deteriorating health.[79] The artwork signified her interpretation of yin and yang, sickness and health, and the integration of dual aspects into a unified whole.[79]
Saint Phalle endured
Up until the end, she continued to design further developments for her Tarot Garden in Italy, including a maze, for which land was cleared, and metal rods were installed.[73] Upon her death, all new developments in her garden were halted, as she had previously specified.[73][80] Since then, some modest changes have been implemented, mostly to accommodate an increasing number of visitors. A garden cafe designed by Mario Botta has also been constructed.[80] One salient exception is the Tarot figure of Le Fou ("The Fool"), which Saint Phalle relocated within the Tarot Garden at least twice during her life.[43]: 54 This symbolic migrational tradition is expected to be continued from time to time.[80]
Posthumously, the Grotto (2001–2003) was completed according to detailed instructions left by Saint Phalle. The permanent installation, in the Grosser Garten, Herrenhausen Gardens, Hannover, consisted of three rooms which were decorated on every surface with mirrors, glass, ceramics, and colored stones.[105]
Posthumously, Queen Califia's Magical Circle (2000–2003), a 120-foot (37 m) diameter sun-drenched sculpture garden designed by Saint Phalle, was opened in Escondido, California in October 2002. It is enclosed in a 400-foot (120 m) undulating wall topped with large python-like snakes, and includes a maze and 10 large sculptures she designed, comprising the most extensive public collection of her work in the US.[106][10][107] The artworks were inspired by Native American culture,[49] and decorations also included symbols and plaques referring to her earlier Tarot Garden.
Legacy
Throughout her career, Saint Phalle was outspoken in addressing important religious conflict, political, pandemic health, race, gender, reproductive rights, food security, climate change, and cultural issues of the time.[108][12][30][79][9] Her Tirs series and assemblages reflected the violence of the early 1960s Algerian War for independence from France[42][9] and asserted her rebellion as part of second-wave feminism.[26][3][38] Her personal style of dress during the mid-sixties also inspired designer Yves Saint Laurent to create his "le Smoking" trouser suits in 1966.[109][110] In spite of the spectacular use of firearms in her Tirs series of early work, she supported gun control.[68][111]
Her enormous, curvaceous Nanas celebrated the fecund female form, featuring large breasts and buttocks, splayed limbs, joyous dance postures, and often, black skin.
Gallery
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Golem (1971),Kiryat Hayovel, Israel
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La Grande Lune ("Great Moon", 1985/1992), MAHF Fribourg, Switzerland
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Adam and Eve (1985),Ulm, Germany
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Lifesaver Fountain (1993), Duisburg, Germany
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Les Footballeurs ("Soccer Players", 1993),The Olympic Museum, Lausanne
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L'Ange Protecteur ("Guardian Angel", 1997), Zürich Hauptbahnhof
Major exhibitions
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- 1998 Niki de Saint Phalle : insider, outsider world inspired art, Mingei International Museum on The Prado, Balboa Park, San Diego, California
- 2000 La Fête. Die Schenkung Niki de Saint Phalle ("Celebration: The Donation of Niki de Saint Phalle"), Sprengel Museum, Hannover, Germany
- 2002 [retrospective], Museum of Modern and Contemporary Art (MAMAC), Nice, France
- 2014 Niki de Saint Phalle, Grand Palais, Galeries nationales, Paris, France[115][116]
- 2016 Niki de Saint Phalle, Arken Museum of Modern Art, Ishøj, Denmark
- 2021 Niki de Saint Phalle: Structures for Life, MoMA PS1, Queens, New York City[87][117][118][23][84]
- 2021-2022 Niki de Saint Phalle in the 1960s, Menil Collection, Houston, Texas; Museum of Contemporary Art San Diego[119][120]
- 2024 Niki de Saint Phalle: Rebellion and Joy, Nelson-Atkins Museum of Art, Kansas City, Missouri[121]
Public art
Many of Saint Phalle's sculptures are large and are exhibited in public places. The Niki Charitable Art Foundation maintains an online map and catalog of all her extant public artworks, including a
- Le Paradis Fantastique ("The Fantastic Paradise", 1967), Moderna Museet, Stockholm, Sweden (in collaboration with Tinguely)
- Golem (1971),
- Hannover Nanas (1973), along the Leibnizufer in Hannover, Germany
- La Fontaine Stravinsky (Stravinsky Fountain or Fontaine des automates, 1982) near the Centre Pompidou, Paris (in collaboration with Tinguely)
- University of California San Diego as a part of the Stuart Collectionof public art
- La Lune ("The Moon", 1987), Brea Mall in Brea, California
- Fontaine de Château-Chinon (1988), at Château-Chinon, Nièvre (in collaboration with Tinguely), a commission by French President François Mitterrand
- Le Grand Oiseau Amoureux ("Great Amorous Bird", 1988–1989),
- Grand Oiseau de Feu sur l’arche ("Great Firebird on the Arch", 1991), in front of Bechtler Plaza in Charlotte, North Carolina[127]
- La Tempérance (1992) in Centre Hamilius, Luxembourg-Ville, Luxembourg (this work was in storage as the site was being demolished).[128]
- Le Monstre du Loch Ness ("Nice, France
- Oiseau Amoureux Fontaine / Lebensretter-Brunnen (Amorous Bird Fountain / Lifesaver Fountain, 1989–1993), Duisburg, Germany (in collaboration with Tinguely)
- Le Cyclop (1969–1994), Milly-la-Forêt, France (in collaboration with Tinguely and 15 other artists)[61][129]
- Tympanum (1996) triangular mirror mosaic and mirrored pediment above the entrance to the Glasgow Gallery of Modern Art, Scotland[130]
- L'Ange Protecteur ("Guardian Angel", 1997) in the hall of the Zürich Hauptbahnhof, the largest rail station in Switzerland
- Le poète et sa muse ("Poet and His Muse", 1998), Mingei International Museum on The Prado, Balboa Park, San Diego, California
- Big Ganesh (1998), San Diego Museum of Contemporary Art, the Hindu elephant-god Ganesh dances with a small mouse[131]
- Miles Davis (1999), outside of Hotel Negresco in Nice, France
- Ricardo Cat (1999), Laumeier Sculpture Park, Saint Louis, Missouri[132]
- Noah's Ark (1994–2001), Jerusalem Biblical Zoo, 23 works in a collaborative sculpture park with architect Mario Botta[103][133][64]
- Nikigator (2001), Mingei International Museum on The Prado, Balboa Park, San Diego, California
- Coming Together (2001), San Diego Convention Center[134]
- Grotto (2001–2003), Herrenhäuser Gardens in Hannover, Germany[135]
- Queen Califia's Magical Circle (2003), a sculpture garden in Kit Carson Park, Escondido, California[136][107]
Museums and collections
A “Jean Tinguely–Niki de Saint Phalle Museum” exists in Fribourg, Switzerland, entirely dedicated to her and her husbands’ works.
The Sprengel Museum has the largest holdings of Niki de Saint Phalle's work,[7] and other major holdings are at MAMAC.[137] Her archives and artistic rights are held by the Niki Charitable Art Foundation (NCAF) in Santee, California, near San Diego, which became active upon her passing.[114][20] The NCAF maintains an online catalog of artworks in museums and major collections.[137]
The Bechtler Museum of Modern Art in Charlotte, North Carolina has several works by Niki de Saint Phalle in its permanent collection, as well as the Grand Oiseau de Feu sur l’arche ("Great Firebird on the Arch", 1991) which stands on a sidewalk outside the museum.[3]
Bibliography (by publication date)
- Saint Phalle, Niki de (1987). AIDS: You Can't Catch It Holding Hands. San Francisco, California: Lapis Press. ISBN 0-932499-52-X.
- Saint Phalle, Niki de (1994). Mon secret (in French). Paris: La Différence. ISBN 978-2729109783. – autobiography
- Hulten, Pontus (1995). Niki de Saint Phalle: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland (in German) (2nd ed.). Stuttgart: ISBN 3-7757-0582-1.
- Mazzanti, Anna, ed. (1998). Niki de Saint Phalle: The Tarot Garden: [created on the occasion of the exhibition "Il giardino dei Tarocchi di Niki de Saint Phalle" at Orbetello, Polveriera Guzman in 1997] (1. Ital. ed.). Milan: Charta. ISBN 88-8158-167-1.
- Longenecker, Martha; et al., eds. (1998). Niki de Saint Phalle: Insider, Outsider World Inspired Art: The 20th anniversary exhibition of Mingei International Museum. LaJolla: Mingei Internat. Museum. ISBN 0-914155-10-5.
- Saint Phalle, Niki de (1999). Traces: An autobiography. Lausanne: Acatos. ISBN 2-940033-43-9.
- Parente, Janice, ed. (2001). Niki de Saint Phalle: Catalogue Raisonné: 1949–2000. Lausanne: Ed. Acatos. ISBN 2-940033-48-X.
- de Gréce, Michele; et al. (2002). Niki de Saint Phalle Monographie, Monograph, Catalogue raisonné. Lausanne: Acatos. ISBN 2-940033-63-3.
- Landeshauptstadt Hannover, Fachbereich Umwelt und Stadtgrün (2003). Niki de Saint Phalle: The Grotto; [published on the occasion of the opening of the Grotto designed by Niki de Saint Phalle in the Herrenhausen Gardens in Hanover]. Ostfildern-Ruit: ISBN 3-7757-1276-3.
- Schulz-Hoffmann, Carla (2003). Niki de Saint Phalle: My Art, My Dreams. Munich; Berlin; London; New York: Prestel. ISBN 3-7913-2876-X.
- Krempel, Ulrich; Jackson, Rosie (2004). Niki's world: Niki de Saint Phalle (2nd ed.). Munich: Prestel. ISBN 3-7913-3068-3.
- Saint Phalle, Niki de; Niki Charitable Art Foundation (NCAF) (2006). Harry and me: the family years; 1950–1960. [Wabern-Bern]: Benteli Publishers. ISBN 3-7165-1442-X.
- Applin, Jo, "Alberto Burri and Niki de Saint Phalle: Relief Sculpture and Violence in the Sixties", Source: Notes in the History of Art, Winter 2008
- ISBN 978-2754104975.
- Weidemann, Christiane (2014). Niki de Saint Phalle. Prestel. ISBN 978-3-7913-4975-6.
- Pesapane, Lucia; Saint Phalle, Niki de; Niki Charitable Art Foundation (2014). Le petit dictionnaire Niki de Saint Phalle: en 49 symboles (in French). Paris: Réunion des musées nationales. ISBN 978-2-7118-6155-2. – Compendium of recurring symbols in the artist's work, and some of their possible meanings
- Gether, Christian; Høholt, Stine; Jalving, Camilla (2016). Niki de Sainte Phalle. Ishøj, Denmark: Arken. ISBN 9788778751140.
- Krempel, Ulrich; Selter, Regina, eds. (2016). Ich bin eine Kämpferin: Frauenbilder der Niki de Saint Phalle = I'm a fighter: images of women by Niki de Saint Phalle (in German and English). Hatje Cantz. ISBN 978-3-7757-4243-6.
- Saint-Phalle, Niki de (2021). Niki de Saint Phalle: Structures for Life. New York: MoMA PS1. ISBN 978-1-942884-67-5. – Catalog of the artist's first retrospective exhibition in New York City, where the artist spent much of her childhood and adolescence
- Dawsey, Jill (2021). Niki de Saint Phalle in the 1960s. San Diego, California: Museum of Contemporary Art San Diego. ISBN 978-0300260106. – Catalog of exhibition covering the 1960s Tirs and early Nanas series of artworks
A short, annotated bibliography is available at the Niki Charitable Art Foundation website.[138]
As of February 2022[update], an online catalogue raisonné of the artist's "Nanas" is "forthcoming".[139]
Film
- Daddy (1973), written and directed by Saint Phalle and Peter Lorrimer Whitehead
- Un rêve plus long que la nuit / Camélia et le Dragon ("A dream longer than the night / Camelia and the Dragon", 1976), written and directed by Saint Phalle
- Niki de Saint Phalle: Wer ist das Monster – Du oder ich? ("Who is the Monster, You or I?", 1995), biographical documentary (in German) by Peter Schamoni in collaboration with Saint Phalle
- Niki de Saint Phalle: Introspections and Reflections (2003), posthumous documentary by André Blas
- Niki de Saint Phalle and Jean Tinguely: Bonnie and Clyde of the arts (2012), posthumous documentary by Louise Faure and Anne Julien[138]
- Niki de Saint Phalle, un rêve d’architecte (Niki de Saint Phalle: An architect’s dream, 2014), posthumous documentary by Louise Faure and Anne Julien[138]
- upcoming biopic on de Saint Phalle's life directed by Céline Sallette and Charlotte Le Bon will played title role [140]
A comprehensive listing is at the Niki Charitable Art Foundation website.[141]
See also
Notes
- ^ According to the Saint Phalle's wedding announcement in Town and Country (1927), Jeanne Jacqueline Harper, known as Jacqueline, was a daughter of Donald Harper, an American living in Paris, France, and his wife, the former Jeanne Bernard.
- ^ According to John Ashbery, Alexandre de Saint-Phalle was the brother of Niki de Saint Phalle's father and also married to her mother's sister, the former Helen Georgia Harper, as explained in "Jacqueline Harper Marries Count: American Lawyer's Daughter Marries Andre de St. Phalle at Château de Fillerval", The New York Times, 7 June 1927. See John Ashbery, Reported Sightings: Art Chronicles, 1957–1987 (Carcanet, 1989).
References
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- ^ "January 2017 – Niki Charitable Art Foundation". Niki Charitable Art Foundation. Retrieved 2017-04-13.
- ^ "Video Clips". Niki Charitable Art Foundation. Niki Charitable Art Foundation (NCAF). Retrieved 2017-04-18.
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- ^ a b c d e Sluiter, Johanna (2021-04-11). "Niki de Saint Phalle's Vibrant, Multidimensional Universe". Hyperallergic. Retrieved 2021-06-11.
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- ^ "Jacqueline Harper American Lawyer's Daughter Marries Count Andre de St. Phalle at Château de Fillerval", New York Times 7 June 1927
- ^ Biographical information, title of count, and birth dates cited in Joseph Valynseele's Les maréchaux de la Restauration te de la Monarchies de Juillet, leur famille et leur descendance (1962), page 292
- ^ a b "JACQUELINE HARPER WEDS FRENCH COUNT; American Lawyer's Daughter Marries Andre de St. Pha!le at Chateau de Fillervai. FAMILIES TWICE UNITED Helene, an Elder Sister of Bride. Is Wife of Bridegroom's Brother Alexandre". The New York Times. 7 June 1927. Retrieved 2 April 2020.
- ^ "HELENE HARPER WEDS COUNT DE ST. PHALLE; Daughter of Prominent New York and Paris Lawyer Marries Banker at Father's Chateau". The New York Times. 7 April 1920. p. 11.
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- ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an Levy, Ariel (18 April 2016). "Beautiful Monsters". The New Yorker. Retrieved 2017-03-28.
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- ^ Lesso, Rosie (1 December 2019). "Niki de Saint Phalle: An Iconic Art World Rebel". TheCollector. Retrieved 2022-02-17.
- ^ "Life & Work (1950–1959) – Niki Charitable Art Foundation". Niki Charitable Art Foundation. Retrieved 2017-03-28.
- ^ a b Pincus, Robert L. (May 23, 2002). "Celebrated sculptor dead at 71". San Diego Union-Tribune. Retrieved 2017-04-16.
- ^ Mathews, Harry. "Living with Niki". Tate. Archived from the original on 2015-09-23. Retrieved 2017-04-15.
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- ^ a b c "Life & Work (1970–1974) – Niki Charitable Art Foundation". Niki Charitable Art Foundation. Retrieved 2017-03-28.
- ^ Sutton, Benjamin (3 December 2014). "Discovering Niki de Saint Phalle's Eerie Early Work". Hyperallergic.
- ^ a b c d e f g h i Woods, Nicole L. (2 March 2015). "Pop Gun Art: Niki de Saint Phalle and the Operatic Multiple". Living Collections Catalogue. 2 (1). Walker Art Center. Retrieved 2017-04-15.
- ^ McAuley, James (22 September 2016). "The Artists and Their Alley, in Postwar France". The New York Times. Retrieved 2021-12-30.
- ^ a b "Aim High: On Niki de Saint Phalle's First New York Solo Show, in 1962". ARTnews.com. 2015-02-11. Retrieved 2021-06-09.
- ^ a b c d Gavin, Francesca (19 July 2014). "Niki de Saint Phalle: lock 'n' load". Dazed. Retrieved 2017-04-19.
- ^ a b Young, Paul David (2012-01-23). "PST Causes Explosions Over Los Angeles". ARTnews.com. Retrieved 2021-06-09.
- ^ ISBN 978-2-7118-6155-2.
- ^ "Charlotte Loves Colorful Characters: Niki de Saint Phalle: The Creation of a New Mythology" (PDF). bechtler.org. Bechtler Museum of Modern Art. Retrieved 2017-04-08.
May/June 2011
- ISBN 978-1-59921-318-7.
- ^ "Niki de Saint Phalle: Room 3: Brides and Monsters". Tate. Retrieved 2017-04-25.
- ^ a b "Niki de Saint Phalle". Art Fortune. Retrieved 2017-04-22.
- ^ "Clarice Rivers by Niki De Saint Phalle And Larry Rivers". Curiator. March 9, 2017. Retrieved 2017-04-22.
- ^ a b c d e f g "Niki de Saint Phalle - Biography". Gallery Diane de Polignac. Paris: Diane de Polignac Art Gallery. Retrieved 2021-06-03.
- ^ ISBN 978-1-942884-67-5.
- ^ a b c d e f g h i j k l m n o p q r s t u v w "Monograph Bio – Niki de Saint Phalle" (PDF). mobot.org. Missouri Botanical Garden. Retrieved 2017-04-19.
- ^ a b c d e f g h "Hon: a Cathedral: 50 years since HON". Niki Charitable Art Foundation. Niki Charitable Art Foundation (NCAF). 3 June 2016. Retrieved 2017-04-16.
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- ^ Müller, Elena (2017-01-27). "Die Vagina-Dialoge". Frankfurter Rundschau (in German). Retrieved 2017-04-16.
- ^ Beerkens, Lydia; Breder, Fredericke. "Temporary Art? Outdoor Sculptures in Fiberglass-Reinforced Polyester (Article)". www.getty.edu. Getty Conservation Institute. Retrieved 2017-04-08.
- ^ a b "Niki de Saint-Phalle et Jean Tinguely au Pavillon de la France". www.villes-ephemeres.org (in French). 7 January 2012. Retrieved 2017-04-08.
- ^ "Expo 67 – France Pavilion". www.westland.net. Retrieved 2017-04-08.
- ^ Pontus Hultén, Jean Tinguely, une magie plus forte que la mort (in French), Paris: Éditions Le Chemin vert, 1987, 379 p. (OCLC 185890755)
- ^ a b c "The 'Paradis fantastique' on top of the Pavilion of France". The World's Fair Community. Retrieved 2017-04-08.
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- ^ a b c d e f g "Le Cyclop de Jean Tinguely". www.lecyclop.com (in French and English). Retrieved 2023-06-14.
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- ^ a b c Steinberg, Jessica (February 20, 2014). "Jerusalemites fear for the Monster Slide park". The Times of Israel. Retrieved 2017-04-14.
- ^ a b c d e "A Monster in Belgium - The Dragon of Knokke". Niki de Saint Phalle. Niki Charitable Art Foundation. 1 August 2017. Retrieved 2021-03-08.
- ^ a b c d "When polyester resin forms more than a sculpture: Niki de Saint Phalle and the Haligon workshop". Niki Charitable Art Foundation. 2 October 2019. Retrieved 2020-05-15.
- ^ "Niki de Saint Phalle: Daddy". Tate. Retrieved 2017-04-25.
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- ISBN 0-671-78150-2.
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- ^ a b Saint Phalle, Niki de. "Il Giardino dei Tarocchi" (PDF). Il Giardino dei Tarocchi. Fondazione Il Giardino dei Tarocchi. Retrieved 2017-04-14.
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- ^ Fecchio, Barbara (12 August 2016). "Three Sculpture Gardens in Tuscany, Italy". Sculpture Nature. Retrieved 2017-04-17.
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- ^ a b c d e f g h "Niki's Sculptures in "Le Cimetière de Montparnasse"". Niki Charitable Art Foundation. 12 July 2018. Retrieved 2020-05-15.
- ^ a b c d e "The Spirit of Coming Together". Niki Charitable Art Foundation. 22 May 2020. Retrieved 2020-05-25.
- ^ a b c d e "It's been 20 Years - What's new with the Tarot Garden?". Niki Charitable Art Foundation. 28 September 2018. Retrieved 2020-05-15.
- ^ "In Memory of Ugo Celetti". Niki Charitable Art Foundation. Niki Charitable Art Foundation (NCAF). 31 May 2016. Retrieved 2017-04-18.
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- ISSN 0362-4331. Retrieved 2022-01-23.
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- ISBN 978-2729109783.
J'ai écrit ce livre d'abord pour moi-même, pour tenter de me délivrer enfin de ce viol qui a joué un rôle si déterminant dans ma vie. Je suis une rescapée de la mort, j'avais besoin de laisser la petite fille en moi parler enfin… J'ai longtemps pensé que j'étais une exception, ce qui m'isolait encore plus; aujourd'hui j'ai pu parler à d'autres vistimes d'un viol : les effets calamiteux sont tous les mêmes : désespoir, honte, humiliation, angoisse, suicide, maladie, folie, etc. Le scandale a enfin éclaté; tous les jours des révélations jaillissent sur ce secret si jalousement gardé pendant des siècles : le viol d'une multitude d'enfants, filles ou garçons, par un père, un grand-père, un voisin, un professeur, un prêtre, etc. Après le Secret j'ai l'intention d'écrire un autre livre adressé aux enfants, afin de leur apprendre à se protéger : parce que l'éducation qu'on leur donne les laisse sans défense contre l'adulte…
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- ^ "Queen Califia's Magical Circle Factsheet" (PDF). escondido.org. Public Art Commission, Escondido, California. Retrieved 2017-04-17.
- ^ a b c "The Magic of Niki de Saint Phalle". San Diego. San Diego Tourism Authority. Retrieved 2020-06-16.
- ISBN 978-3-7757-4243-6.
- ^ Emerson, Gloria (1966-08-05). "A Nude Dress That Isn't: Saint Laurent in a New, Mad Mood". The New York Times: R53. Retrieved 2023-07-23.
Niki de Saint-Phalle, an American artist living in [France], has had the best influence of all on Saint Laurent...Miss Saint-Phalle...always wears trouser suits with...boots....Now Saint Laurent has copied her 'black tie' trouser suit in velvet and in wool....In wool, it has a very ruffly white shirt, a big black bow at the neck, a wide cummerbund of satin, and satin stripes down the rather wide pants. It is worn with...satin boots.
- ^ "First Tuxedo". Musée Yves Saint Laurent Paris. Retrieved 2023-07-18.
In his Autumn-Winter 1966 collection, Yves Saint Laurent introduced his most iconic piece: the tuxedo....[T]he Saint Laurent Rive Gauche version was a success. The label's younger clientele was quick to purchase it, making the tuxedo a classic. Saint Laurent would go on to include it in each of his collections until 2002.
- ^ "Guns by Niki deSaint Phalle". www.artnet.com. Retrieved 2021-06-11.
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- ^ a b "Archives". Niki Charitable Art Foundation. Niki Charitable Art Foundation (NCAF). Retrieved 2017-04-18.
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- ^ Greenberger, Alex (18 September 2019). "Niki de Saint Phalle, Pioneering French Feminist Artist, to Be Subject of Major Survey at MoMA PS1 in New York". ARTnews.com. Retrieved 2020-05-15.
- ^ "Niki de Saint Phalle: Structures for Life at MoMA PS1. Preview of exhibition until MoMA PS1 reopens to the public". Arts Summary. 27 March 2020. Retrieved 2020-05-15.
- ^ "Niki De Saint Phalle In The 1960s". Menil. The Menil Collection. Retrieved 2021-12-22.
- ^ "Niki de Saint Phalle in the 1960s". Museum of Contemporary Art San Diego. MCASD. Retrieved 2021-12-22.
- ^ "Niki de Saint Phalle: Rebellion and Joy | Nelson-Atkins". Nelson Atkins. Retrieved 2024-03-03.
- ^ "Public Works". Niki Charitable Art Foundation. Niki Charitable Art Foundation (NCAF). Retrieved 2017-04-18.
- ^ "Fond of food, fun, friends and ... fish?". Niki Charitable Art Foundation. 23 February 2011. Retrieved 2020-05-25.
- ^ [1] Archived September 10, 2005, at the Wayback Machine
- ^ "Le Grand Oiseau Amoureux". Museum Tinguely. Archived from the original on 2017-04-19. Retrieved 2017-04-18.
- ^ "Le bestiaire de Niki de Saint Phalle". RMN – Grand Palais (in French). Réunion des musées nationaux et du grand Palais des Champs-Elysées. Retrieved 2017-04-22.
- ^ Sarah Gay (2009-11-05). "Firebird Finds its Nest at the Bechtler Museum of Modern Art". Charlotte Viewpoint. Retrieved 9 August 2010.
- ^ "La Tempérance, 1992 — Luxembourg". Nikidesaintphalle.org. Archived from the original on 23 August 2011. Retrieved 20 May 2011.
- ^ [2] Archived February 10, 2006, at the Wayback Machine
- ^ "Niki de Saint Phalle, Gallery of Modern Art, Glasgow". HeraldScotland. Herald & Times Group. 16 November 2012. Retrieved 2021-06-06.
- ^ "Niki de Saint Phalle: Big Ganesh". Museum of Contemporary Art San Diego. 5 December 2012. Retrieved 2017-04-17.
- ^ "Niki de Saint Phalle". Laumeier Sculpture Park. Retrieved 2024-01-13.
- ^ "Niki de Saint Phalle Chronology (1930–2002)" (PDF). ci.escondido.ca.us. Archived from the original (PDF) on 17 November 2010. Retrieved 16 November 2010.
- ^ "Public Art Department". Port of San Diego. Archived from the original on 2008-05-10. Retrieved 2012-10-04.
- ^ "Von 2001 bis 2003 ist die historische Grotte nach den Plänen der Künstlerin Niki de Saint Phalle neu ausgestaltet worden". Hannover.de. Retrieved 9 August 2010.
- ^ "Queen Califia's Magical Circle Garden". Queencalifia.org. Retrieved 2012-10-04.
- ^ a b "Museums & Collections". Niki Charitable Art Foundation. Niki Charitable Art Foundation (NCAF). Retrieved 2017-04-18.
- ^ a b c "Recent publications – The season of awards". Niki de Saint Phalle. Niki Charitable Art Foundation (NCAF). 21 November 2014. Retrieved 2017-04-18.
- ^ "Catalog Raisonné Project". Niki de Saint Phalle. Niki Charitable Art Foundation (NCAF). Retrieved 2017-04-18.
- ^ "'Niki' About French-American Artist Niki de Saint-Phalle, Sells to Major Territories (EXCLUSIVE)". Variety.
- ^ "Videos and Films in the Niki Charitable Art Foundation Archives" (PDF). Niki de Saint Phalle. Niki Charitable Art Foundation (NCAF). Retrieved 2017-04-18.
Further reading
- Carrick, Jill. “Phallic Victories? Niki de Saint-Phalle’s Tirs”, Art History, vol 26, no. 5, November 2003, pp. 700–729.
- Rosko, Zoran. "Niki de Saint Phalle (1930–2002) – Egzorcizam puškom (Exorcism by rifle)". roškofrenija (in Croatian and English). Retrieved 2017-04-13. – various reviews of Saint Phalle's artworks and cinema
External links
- Official website of the artist's foundation, NCAF
- Official website of the Tarot Garden sculpture park
- Official website of Queen Califia's Magical Circle sculpture park
- Official website of Le Cyclop
- Stuart Collection, UCSD
- Personal blog on Tarot Garden
- Catalogue Raisonné research
- Walkthrough video tour of the Tarot Garden, from the Grand Palais retrospective
- Niki de Saint Phalle – Der Traum vom fantastischen Garten, 50-minute documentary by Fabian Hirschi (in German)
- A brief video overview of Saint Phalle's art, produced by the Tate Gallery and presented by the Khan Academy
- Video excerpt showing construction, operation, and later demolition of Hon – en katedral