A timely reassessment of the artist's early performances and feminist sculptures, affirming their radical engagements and art historical significance
A timely reassessment of the artist's early performances and feminist sculptures, affirming their radical engagements and art historical significance
This volume is a focused look at two bodies of work, the
Tirs ("shooting paintings") and
Nanas ("dames"), in the experimental 1960s practice of the French-American artist Niki de Saint Phalle (1930-2002). Alongside a poetic response to the work, four essays treat Saint Phalle's oeuvre as works of radical performance and feminist art, as well as highlighting her transatlantic projects and collaborations. A chronology with photo-documentation and known participants details for the first time all
Tirs shooting events in Europe and the United States, and another timeline recaps Saint Phalle's life in the 1960s.
Tirs were made by firing a .22 caliber rifle at the surfaces of paintings. The bullets pierced bags of pigment, aerosol paint cans, or even food embedded in dense assemblages covered in painted plaster. Saint Phalle's increasingly liberated female figures with outstretched arms, curvaceous forms, and powerful poses developed into her well-known
Nanas, an evolution contemporaneous with the rise of a Euro-American feminist movement.
Distributed for the Menil Collection and the Museum of Contemporary Art, San Diego
Exhibition Schedule:
Menil Collection, Houston>
Museum of Contemporary Art, San Diego (April 9-July 17, 2022)
