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ArmanBoom Boom, mid century print from the New York International portfolio S/N 1960s1965
1965
About the Item
Arman
Boom Boom (unique variation from New York International Portfolio), 1965
Screenprint with pencil additions.
Pencil signed and numbered 12/225 on the front
Published by Chiron Press, bearing their blindstamp front
Provenance: Acquired from the original New York International Portfolio
17 × 22 inches
Edition of 225
Unframed
While this silkscreen and stencil print is from an edition of 225, each print is unique because the hand stenciled gun is placed differently on each image: "The artist drew guns on the silkscreen from which the prints were made. Each has an additional hand-stenciled gun for uniqueness and variety.The many revolvers, in accumulation, become so many horse heads. They gambol like the hills of the palm. Claes Oldenburg's ray guns of 1959 are evoked, as are Arman'e own accumulations of spectacles ans high heeled shoes. Silver and gold guns - aluminum and brass - take the light differently from the black and single red.Black silhouette, simple outline, 'arbitrary' smudge and continuous hatching are ways in which the gun is drawn. The effect is lively, not death-dealing." (from the portfolio introduction by Henry Geldzahler). The present work is the hand signed and numbered screenprint with unique pencil variations from the New York International portfolio, (which also featured work by Willi (Mary) Baumeister, Robert Motherwell, Oyvind Fahlstrom, John Goodyear, Charles Hinman, Allen Jones, Ad Reinhardt, James Rosenquist and Saul Steinberg.) Excerpt from the MOMA catalogue featuring this print: "Accumulation and repetition are the hallmarks of the work of Nouveau Realiste artist Arman. In common with the art of other members of this loosely defined Paris-based group, Arman's work signaled the return of interest in the industrialized urban environment after the predominance of abstract painting. His inventive constructions incorporate numerous manufactured goods, such as shoes, car parts, violins and paint tubes. Eschewing the personal artistic mark, Arman began making rubber stampings in 1955, which, by the end of the decade, evolved into his tracings - impressions on canvas made by objects dipped in paint. Revolvers have been a constant motif in Arman's work, beginning with the accumulation Boom!Boom! of 1960 and appearing as recently as 1979 in Tools of Persuasion. Other objects of violence, including sabers and gas masks, also appeared in the early 1960s work. During this period, Arman began his aggressive actions titled Coleres or Tantrums, which included dynamiting a car and smashing a cello on stage. This period of violent motifs, reflects in part, Arman's wartime experiences and coincides with the increased tension in Paris over the Algerian war. (1956-1962).
Arman was inspired by the prints of Jasper Johns that he saw on his first trip to New York in 1961. Among Arman's earliest prints are several lithographs and monotypes composed of repeated renderings or imprints of an object. In 1966, Rosa Esman of Tanglewood Press invited him to participate in her portfolio New York International. After the success of her first publishing venture, New York 10, Esman chose to work with an international roster of artists, many of whom had successful exhibitions in New York that season. More established artists, such as Robert Motherwell and Ad Reinhardt, were also included.
More about Arman
I specialize very much in… everything,” the French-born American artist Arman told an interviewer in 1968. “I have never been — how do you say it? A dilettante.” Regarded as one of the most prolific and inventive creators of the late 20th century, Arman’s vast artistic output ranges from drawings and prints to monumental public sculpture to his famous “accumulations” of found objects. His work—strongly influenced by Dada, and in turn a strong influence on Pop Art—is in the collections of such institutions as the Metropolitan Museum of Art in New York, the Tate Gallery in London and the Centre Pompidou in Paris.
Born in Nice in 1928, Armand Pierre Fernandez showed a precocious talent for painting and drawing as a child. (Inspired by Vincent van Gogh, he signed his early work with his first name only; he retained a printer’s 1958 misspelling of his name for the rest of his career.) The son of an antiques dealer and amateur cellist, the artist absorbed an intense appreciation for music, the art of collecting and the cultivation of discriminating taste from an early age. After studies at the Ecole Nationale des Arts Décoratifs in Nice, Arman decamped to Paris to study art history at the Ecole du Louvre. His work in these early years focused on abstract paintings inspired by the work of Nicolas de Staël. An avid reader, Arman sought inspiration through books and art reviews, as well as during frequent road trips throughout Europe with his artist friends from Nice, Claude Pascale and Yves Klein.
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