Rotraut uecker biography of alberta

Rotraut would paint with her brother when they were children, the relief and joy she felt while spontaneously bringing paint to a canvas and finding a story within the lines was the moment that started everything for her.

It was an attempt at enlarging painting’s domain to architecture and installation.

Later the same year, Klein conceived of the levitating tubes project and tried several methods for illuminating the obelisk on Paris’ Place de la Concorde with blue light.

On April 28, 1958 opened his show “The Specialization of Sensibility in the Raw Material State of Stabilized Pictorial Sensibility” (La Spécialisation de la sensibilité à l’état de matière première en sensibilité picturale stabilisée) mostly referred to as “The Void” (Le vide).

Other painters established in Cagnes-sur-Mer were Hans Hartung and Nicolas de Staël.

In 1945-45, Yves Klein attended the Ecole du Génie Civil in Paris for one year. On December 15, he attended the opening of the Gelsenkirchen Opera House. In May he attended the premiere of Mondo Cane at the Cannes Film Festival. The catalogue was published on the occasion of the exhibition Yves Klein: With the Void, Full Powers organized by Kerry Brougher and Philippe Vergne for the Hirshorn Museum and Sculpture Garden in Washington, D.C.

from May 20 to September 12, 2010 and for the Walker Art Center in Minneapolis, Minnesota, from October 23, 2010 to February 13, 2011. The parents moved to Paris when Yves was only a few months old, leaving the child in the care of his aunt, Rose Raymond, with whom he maintained a close relationship throughout his life. This became manifest when he assigned different prices to a series of identical paintings exhibited at Galleria Apollinaire in Milan in 1957.

In November, he published two booklets containing “plates” of his monochromes. Since 1956, he had begun to experiment with sponges, fascinated by their capacity to soak up anything, above all blue color.

In the summer in Nice, he met the German Rotraut Uecker, who would become his studio assistant and model in 1958 and his wife in 1962. Beginning in the 1990s, she shifted to sculpture as her primary medium.^[5] Many of Rotraut's works are monumental sculptures in bright, primary colors.^[6]

Relationship with Yves Klein

In their time together, Rotraut worked as an assistant and model to Klein.

On the ruins of the Second World War, he wanted to “reinvent art as a positive activity with a renewed social and spiritual underpinning, and to create an expanded and expansive form of art-making”. The works never existed in reality, but only as concepts in the mind of the artist. Later in March he traveled with Rotraut to New York for the exhibition “Yves Klein the Monochrome” at Leo Castelli Gallery, which got a bad reception, which led Klein to write his “Chelsea Hotel Manifesto” to explain himself.

In Paris in May and June 1961, he participated in the group exhibition “40 Degrees Above Dada”, organized by Pierre Restany, who drafted a second manifesto, equating The New Realists with the legacy of Dada, to which Yves Klein vehemently objected.

On July 19, Klein conducted his last Fire Painting session at Gaz de France because the center’s director withdrew the permission for future experiments upon learning the Klein was using naked models. Their union proved transformative, with Rotraut donning various roles—from assistant to model and muse for Klein.

Some look like dancing figures flowing and flailing through the air, while others look like animals or butterflies you would find in nature. They enhance a space, breathing life and positivity into it.”

Her sculptures have personalities. In 1960, Pierre Restany coined the term Anthropometry for these artworks.

In the summer of 1958, Klein moved to the artist area of Montparnasse in Paris, where he would live until his death from a third heart attack in 1962.

In September 1958, Klein made his first pilgrimage to the shrine of Saint Rita in Cascia (Italy), together with his aunt, where he made the votive offering of an IKB monochrome (Ex-voto dédié à sainte Rita de Cascia par Yves Klein).

In November 1958, Klein and Tinguely had a joint exhibition at Galerie Iris Clert entitled Pure Velocity and Monochrome Stability.

In 1959, he announced in a lecture at the Sorbonne that: “Blue, gold and pink are of the same nature.

This move would prove fateful, for it was there that she crossed paths with her future husband, the French conceptual artist Yves Klein, a seminal figure in the post-war European art scene. Brougher writes that, for Klein, “the cage was painting itself and its reliance on representation and earthly concerns”.