#klippel

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Klippel with assemblages in his studio

Number 1060, (1995) painted wire, tin  22.5 x 7.6 x 7cm

Number 714 - Prototype for Adelaide Plaza (1988)  Construction of brazed and welded steel, geometric sections, found objects, formed sheet metal. 69.5 x 64 x 49.5 cm without base

Number 329, (1977) assemblage of collected wood parts  300 x 350 x 135cm

search @www.artgallery.nsw.gov.au

A Klippel's practice exeplifies the interconnectedness of the conceptual and the material. His bodies of work explore the relationship between the organic and the mechanical.

B By the time Robert Klippel died in Sydney in 2001, aged 81, he was critically acclaimed and well collected in his home country. But as with most Australian artists, although he had lived for stints in Europe and the US from the 1940s until the 1960s, his work was largely unknown abroad.

Eleven years on, his son has secured a blue chip shot at changing that. Klippel junior has signed Galerie Gmurzynska in Zurich as the sole representative of his father’s estate worldwide, catapulting the artist into the company of Pablo Picasso, Yves Klein, Alexander Rodchenko and David Smith, whose estates the gallery also represents.

  Some of Klippel’s large wooden sculptures have already been on the Gmurzynska stand at Art Basel, Art Basel Miami and ArtHK, and a substantial publication and exhibition is being planned for the coming year.

  Klippel is the only Australian artist to have been taken on by the 50-year-old gallery, which is best known for introducing the Russian avant garde to western Europe and for representing modernist artists working up to 1980.

  “We have a solid reputation for ­scientific research, and for promoting interesting, important historic figures who have created something authentic but who have not had the exposure they should have had,” says gallery co-owner Mathias Rastorfer.

  Klippel, an abstract artist and loner not easily slotted into one particular movement, was loosely influenced by surrealism, cubism and constructivism.

  According to Deborah Edwards in the 2002 Art Gallery of NSW retrospective catalogue, “his attitudes to art making were grounded in European modernism and postwar intellectual thought”. It is for this reason, in part, that Gmurzynska was interested in taking him on.

  Rastorfer says: “We found him very interesting due to his connection to the constructivists, his Polish ­origins, his time in America. The more you go into Klippel, the more modernist links you find.

“We will introduce his work in the context of those peers, taking him out of the Australian context and putting him into an international one. We want to show where he fits in worldwide.”

  Klippel’s bronze sculptures have been the most collectable in Australia. They appear regularly on the secondary market and can fetch more than $100,000. The top price paid at auction – $507,800 – was in 2006 for a miniature steel, tin, acrylic paint and coloured paper collage.

  Gmurzynska plans to use the large, wooden sculptures and tiny coloured plastic ones that Klippel did in the late 1980s and early 1990s to introduce him internationally. This is in part for practical reasons, because this is most of what is left in the estate, but also because he thinks these will work best there.

  Rastorfer expects to take at least three years to achieve traction internationally for Klippel. “One of the biggest temptations is to sell the four or five most important works straight away, because that’s the easiest thing to do,” he says. “But then the estate is left with the lesser known work and often doesn’t know what to do with it.

  “It’s about placement in museum collections, in significant private ­collections, and with opinion makers, not just about selling. If we show him in the context of his better- known peers, the rest will follow.”

  There are no guarantees the strategy will work, but Andrew Klippel is quietly excited that his father, to whom he was very close, is getting a posthumous chance at an inter­national career.

After years in the music business, where things happen very quickly, his foray into the visual arts is teaching him a new virtue: patience. “This is a long play.”

Constructivism (& its impact on Klippel)

1 Naum Gabo (1890-1977) Russia   Column (c1923, reconstructed 1937) perspex, wood, metal, and glass 104.5 x 75 cm

2 Naum Gabo Linear Construction in Space No. 1 (c1945-6) perspex with nylon monofilament 45.7x45.7x9.5cm

3 Naum Gabo Constructed Head No. 2, 1916 (enlargement 1975) stainless steel 177.8×137.8×121.9cm

4 Robert Klippel (1920-2001 ) Australian  Linking up with fever chart (1947) graphite; ink; paper drawing in red and red and brown ink and black pencil 37.7x24.8cm

5 Robert Klippel (Opus 43) Fever Chart elm wood, various wood and jigsaw parts; assemblage, painted with gouache  68.3x20.3x19.4cm

6 Vladimir Tatlin (1885-1953) Russia   Corner Counter-Relief (1914) sheet metal, copper, wood, and metal attachment elements 71×118cm

 7 Vladimir Tatlin Monument to the Third International (Tatlin’s Tower) (1919-20) intended to be 400m tall, never constructed, wood, metal, glass

Naum Gabo (1890-1977) Russia/ USA

 A   artsy.net

A pioneering Constructivist artist, Naum Gabo developed a transformative approach to sculpture, breaking solid mass into interlocking planes, lines, and geometric shapes punctuated by open spaces.

Using glass, metal, and plastics, Gabo worked additively, building his sculptures piece by piece to create precise, linear forms, buoyed by lightness and dynamism. His works were mostly abstract and architectural, like Column (c. 1923), a clear vertical column ringed by an open circle and sliced by multicolored planes. Gabo sought a new visual language that was in sync with society and humanity, with space and time as its basic elements. He outlined his approach in his Realistic Manifesto, which he published with his brother, Anton Pevsner. “Space and time are the only forms on which life is built,” he wrote, “and hence art must be constructed.”

 B   Megan Fontanella, www.guggenheim.org

 Linear Construction in Space No. 1 (ca. 1945–46) further emphasizes Gabo’s predilection for modern building supplies, as opposed to traditional ones like marble, clay, or bronze. The rigid Perspex frame with stretched nylon filaments, a design that characterizes Gabo’s later spherical works, again creates the illusion of continuous depth. This work too exists in several reconstructions executed after the initial template, like the version now at the Guggenheim Museum. Gabo’s duplication of forms and insistence on everyday materials is akin to the methodical processes of industrial production.

Ultimately, utopian ideals underscore Gabo’s Constructivist works. Rejecting the past and freeing art from the imitation of nature, he believed that his sculptures helped build “more perfected social and spiritual life.”

  Vladimir Tatlin (1885-1953) Russia

C     www.theartstory.org

Tatlin's training as an icon painter may have been significant in suggesting to him how unusual materials might be introduced into painting, but the most important revelation in this respect was his encounter with Picasso's Cubist collages, which he saw on a trip to Paris in 1913. Another echo of his earliest concerns - one that remains in his work throughout his career - is his preoccupation with curves, something that can be traced all the way from his early nudes through the experimental sculpture of his Counter-reliefs up to his architectural Monument to the Third International (1919-20).

Corner-Counter reliefs:   theartstory.org    In these sculptures, the surrounding space is used as another material for construction, interacting with the object and creating dynamism and tension. The geometric corner counter-reliefs, which he started to construct in 1914, are an example of this more developed abstract style. In these corner-spanning works, the flat rectangular frame is discarded and the object is able to fully interact with its spatial environment. By breaking away from the two-dimensional surface and into space, these sculptures embody Tatlin's slogan, "art into life." One might also read them as a fusion of art and engineering, and, in that regard, many critics have pointed to the talents of his parents, one a poet, the other an engineer.

  wsws.org     It is one of the very few remaining examples of the “counter-relief”, an art form created by Tatlin after visiting Pablo Picasso, whom he admired greatly, in Paris. It constitutes a challenge to previous forms of painting and sculpture, and attains its effect solely through its organisation of diverse materials in space. During the Stalin era almost all these works were either lost or destroyed.

With these constructions Tatlin freed himself from painting and its depicted content. He began to assemble these structures from everyday objects and bits and pieces, mounting them on freely suspended ropes or wires. They combine materials such as wood, glass, leather, metal, gypsum, cardboard or pieces of wallpaper. The suspended ropes, recalling boat riggings or stringed instruments, seem to defy gravity.

Monument to the Third International  (1919-1920) also sometimes known simply asTatlin's Tower, is his most famous work, as well as the most important spur to the formation of the Constructivist movement. The Tower, which was never fully realized, was intended to act as a fully functional conference space and propaganda center for the Communist Third International. Its steel spiral frame was to stand at 1,300 feet, making it the tallest structure in the world at the time. It was to be taller, more functional - and therefore more beautiful by Constructivist standards - than the Eiffel Tower. There were to be three glass units, a cube, cylinder, and cone, which would provide functional space for meetings and would rotate once per year, month, and day, respectively. For Tatlin, steel and glass were the essential materials of modern construction. They symbolized industry, technology, and the machine age, and the constant motion of the geometrically shaped units embodied the dynamism of modernity.