Varda Chryssa
| Zuordnung | Frau Künstler_in |
|---|---|
| Verbundene Person(en) | |
| URLs | Wikipedia Institutionen/Museen |
| Ausstellungen | |||||
|---|---|---|---|---|---|
| Einzelausstellung | 1979 | Chryssa | Musée d’Art Moderne de la Ville de Paris | Paris (FR) | |
| Einzelausstellung | 1972 | Chryssa | Whitney Museum of American Art | New York City, New York (US) | |
| Gruppenausstellung | 1968 - 2014 | documenta 4, 6, 14 | documenta | Kassel (DE) | |
| Einzelausstellung | 1961 | Chryssa | Solomon R. Guggenheim Museum | New York City, New York (US) |
| Sammlungen | |||
|---|---|---|---|
| Nationales Museum für Zeitgenössische Kunst | Athen (GR) | ||
| Albright-Knox Art Gallery in Buffalo | Buffalo, New York (US) | ||
| Hirshhorn Museum and Sculpture Garden | Washington DC, Washington (US) | ||
| Museum of Modern Art | New York City, New York (US) |
| Bibliograpie | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Monographie | 1990 | Thames & Hudson | Chryssa: Cityscapes | Douglas Schultz | 0-50009-209-5 | London, England (UK) | ||||||
| Monographie | 1968 | Chryssa: Selected Works 1955–1967 | Diane Waldman | 0-93860-821-5 | New York, New York City (US) | Pace Gallery |
Gestorben
New York City, New York, USA
Projekte
New York City, New York, USA
In den 1980er Jahren und später schuf sie Barock-artige Installationen aus Aluminium, Kunststoff und Neonröhren, die sich im Grenzbereich zwischen Minimalismus, Concept-Art und Pop Art bewegen.
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Projekte
New York City, New York, USA
Ab dem Jahr 1961 begann Chryssa mit Neonlicht-Installationen zu arbeiten und war damit eine Pionierin auf dem Feld der Lichtkunst. Mit diesen Installationen schuf sie räumliche Zeichnungen aus Licht.
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Wohnorte
New York City, New York, USA
Ausbildung
San Francisco, Kalifornien, USA
Im Jahr 1954 ging Chryssa in die USA und studierte von 1954 bis 1955 an der California School of Fine Arts in San Francisco.
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Ausbildung
Paris, Frankreich
Chryssa studierte an der Académie de la Grande Chaumière in Paris. Sie lernte dort André Breton, Edgard Varèse und Max Ernst kennen und hatte Unterricht unter anderem bei Alberto Giacometti, der Gastdozent an der Hochschule war.
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Geboren
Athen, Griechenland
I first saw Chryssa’s work at the Museum of Modern Art, in Dorothy Miller’s “Americans 1963” show. I was impressed. I continued to be impressed by the sculptures and reliefs for which she is best known. They looked startlingly fresh and original. I did not meet her until later, and had no idea whether she was a man or a woman, American or foreign; I just knew that this was a really strong artist with a personal vision. Chryssa worked in many different media—including painting, drawing, and prints. In all media, her imagery often recalled calligraphy. However, she became famous for her sculptures and reliefs made of steel, aluminum, and plastic encasing neon lettering or fragments of letters, sometimes distorted or layered so they cannot actually be read. Artists had used neon before, but Chryssa made the colored tubes the basis of her sculptures. Sonia Delaunay experimented with it in the 1920s. In the ’60s, it came to be associated with the urban environment as well as with technology; Pop artists such as Larry Rivers and the French Nouveau Réalist Martial Raysse also used neon. But Chryssa was not a Pop artist. She came from an ancient Greek culture that was distinctly not contemporary but grounded in antiquity. She was excited by the strangeness of the “neon wilderness,” as writer Nelson Algren called the blinking barrage of signs and images that created psychic overload. In a sense, neon itself signified America and its technological advances. But there was a darker, dystopian Bladerunner feeling about the failure of technology to produce progress, which made Chryssa’s constructions both glamorous and ominous. Chryssa’s neon pieces used artificial colored electric light as a structural element, as linear calligraphic drawing encased in geometric, Minimalist structures. She did not combine text with images like other artists did. Text literally became her image. In the ’80s, she used Chinese characters inspired by the neon signs in Chinatown, a neighborhood not far from her SoHo loft on lower Broadway. Chinese was even more foreign to her than English, which she spoke well but with a decided accent. Barbara Rose
https://www.artforum.com/passages/barbara-rose-on-chryssa-1933-2013-46422 (26.3.2021)
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Cityscape Times Square #2 | 1988 | Varda Chryssa | |
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Clytemnestra II | 1968 | Varda Chryssa | |