Transparent Silence Kinetic Sculpture in Metal Resin & Plaster by Atelier Ellery

No Center, No Above, No Below Kinetic Sculpture by Atelier Ellery One Of a Kind. Dimensions: D 36 x W 85 x H 145 cm. Materials: Metal resin, plaster, and iron. Available in differen...

Mobile Kinetic Sculpture by Max Lipsey Dimensions: D 350 x W 350 x H 350 cm. Materials: Steel and lacquer. The mobile is available in different colors and sizes on request. Please c...

Green, red and clear biomaterial sculpture submerged in resin cube.

Abraham Palatnik (1928-2020) Sculpture "Elephant", c. 1960 Vintage label (made in Brazil). Polyester resin and pigment in black. Kinetic art - Beautiful and rare polyester resin sculpture from the HOME AND FARM collection representing an elephant signed in the base. This sculpture is part of the series of animal sculptures that Abraham Palatnik made from the 1960s, in small format, they are small jewels of kinetic art, a movement of which he was one of the pioneers. "Born in Natal, Rio Grande do Norte, Brazil, in 1928 to a family of Russian Jews, Palatnik moved with his family to Tel Aviv (then Palestine) when he was four years old. He attended Montefiori Technical School, where he specialized in internal combustion engines, and studied art under the tutelage of the painter Haaron Avni and the sculptor Sternshus at the Municipal Institute of Art. When he returned to Brazil in 1948, his output consisted mainly of figurative and landscape paintings and charcoal drawings. However, his encounters with the complex works made by schizophrenic patients at the Pedro II Psychiatric Hospital, where he taught painting workshops alongside Almir Mavignier and Ivan Serpa, caused him to abandon his early approach to traditional image-making: “I decided to start all over from scratch,” Palatnik said. “The discipline from the school, the studio, was no longer of any use.” Freed from the perceived restrictions of his training, Palatnik became closely associated with Grupo Frente, a movement started by Serpa and rooted in geometric abstraction. He used his knowledge of engineering and mechanics as well as his interest in natural forces to build his first Kinechromatic work. Titled Azul e roxo em seu primeiro movimento (Blue and Purple in First Movement), 1949, the piece debuted at the inaugural São Paulo Bienal in 1951. “In reality, it was luck that got me into the biennial,” Palatnik said in a 1986 interview. “At first, my machine was rejected, because it wasn’t a painting, a sculpture, a drawing, or a print.” The piece, which eventually gained entry, shocked the biennial’s grand prize jury, who gave Palatnik an honorable mention, calling his work an “important manifestation of modern art.” By 1969, he had participated in seven more editions of the international exhibition. Palatnik would also present work in the 1964 Venice Biennale, the 1966 Biennial of Córdoba, and the 1997 and 2005 editions of the Mercosul Biennial. His art was featured in significant exhibitions on kinetic art, including “Mouvement 2” (1964) at Denise René gallery in Paris; “Lumière, Mouvement et Optique” (1965) at the Brussels Palace of Fine Arts; “Kinetic Art” (1966) at the Museum of San Francisco; and, more recently, “Delirious: Art at the Limits of Reason, 1950–1980” (2017) at the Metropolitan Museum of Art in New York and “The Other Trans-Atlantic: Kinetic & Op Art in Central & Eastern Europe and Latin America 1950s–1970s” (2018) at Sesc Pinheiros in São Paulo. A major retrospective, “Abraham Palatnik—The Reinvention of Painting,” was staged at several venues across Brazil, including the Centro Cultural Banco do Brasil Rio de Janeiro (2017); the Fundação Iberê...