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Oyvind Fahlstrom
Eddie (Sylvie's Brother) in the Desert (celebrated 1960s silkscreen) Signed/N

1966

About the Item

Öyvind Fahlström Eddie (Sylvie's Brother) in the Desert (from New York International Portfolio), 1966 Silkscreen on wove paper Pencil signed and numbered from the limited edition of 225. Unframed In 1999, another edition of this work was included in the exhibition, Ö"yvind Fahlström: The Complete Graphics and Multiples" - a comprehensive survey of Öyvind Fahlström’s graphic work, including twenty-seven prints as well as multiple editions in three-dimensional object and book format. This important 1960s silkscreen is by Brazilian-born Swedish Pop/Conceptual artist Oyvind Fahlstrom from the New York International Portfolio, Volume I, 1966. Fahlstrom's prints from the mid 1960s, like this one featuring a cutout image of Chairman Mao, are desirable and quite uncommon. A descendant of Surrealism, he actively incorporated chance into art. For his format and imagery, Fahlstrom borrowed heavily from popular culture sources, continuously drawing from his vast files of magazine photographs and comic books: "In the early 1960s Öyvind Fahlström began to make what he termed “variable” paintings, in which a figure’s limbs or other discrete shapes were segmented and jointed—and thus movable. The potential mobility of these elements was, for Fahlström, a way of implicating the viewer. In his words, “strategy, manipulation, [and] political psychodrama” are central to art’s content. Eddie (Sylvie’s Brother) in the Desert is crowded with vivid, active, yet enigmatic imagery—a window shattering, a flag fluttering, a nude woman running, a suited man bounding out of the frame, and cartoonish trails of rushing air. The title references Sylvie Vartan, a French pop singer of the day, and her brother, Eddie, a musician as well, for whom Fahlström imagined a densely populated, disorienting “desert.” "" - The Art Institute of Chicago Other impressions of this print is in the collection of the Museum of Modern Art, the Art Institute of Chicago and major cultural institutions worldwide. Publisher: Tanglewood Press, New York Printer: M.H. Lavore Company Documented in the online catalogue raisonne for the Oyvind Fahlstrom Estate Foundation In 1999, another edition of this work was included in the exhibition, Ö"yvind Fahlström: The Complete Graphics and Multiples" - a comprehensive survey of Öyvind Fahlström’s graphic work, including twenty-seven prints as well as multiple editions in three-dimensional object and book format. Öyvind Fahlström Biography from the exhibition: Born in São Paolo, Brazil in 1938 of a Norwegian father and Swedish mother, Öyvind Fahlström led a peripatetic life that included years in Sweden, Italy, France, and New York. During the summer of 1939 he traveled to Sweden to visit his grandmother and was stranded by the outbreak of World War II. He attended school there until his parents returned to Stockholm in 1948. Fahlström received his degree in art history and archeology from the University of Stockholm in 1952. After receiving a grant from the Swedish-American Foundation he moved to New York in 1961, where he became immediately involved with a group of artists, including Robert Rauschenberg, Jasper Johns, and Robert Morris. Fahlström died in Stockholm in 1976. Öyvind Fahlström was a visual artist, concrete poet, journalist, playwright, critic, filmmaker, and activist. Inspired by an eclectic range of sources, including the Surrealists, pre-Columbian manuscripts, modern Mexican art, John Cage, jazz, and underground comic artists like Crumb, Fahlström utilized diverse media, producing works in film, performance, installation, sculpture, prints, and painting. Though often classified as Pop because of his use of popular imagery, the political narratives in Fahlström’s work align him more with the ambitions of the Conceptual artists. A multi-media artist, Fahlström made use of many forms of distribution, including exhibitions, books, poetry, magazines, film, opera, television, and radio. He worked in the fields of painting, graphics, sculpture, film, comics, happenings, and radio theater. He mixed all of these areas as well as creating forms of his own. Fahlström’s main interest was in the political implications of contemporary art. Fahlström believed in art as a force for changing consciousness and the world. His works are at once political fantasies and the result of meticulous research. He scrupulously followed economic and socio-political developments around the world, responding to ever-shifting global situations. Central to his work is a synthesis of psychodrama, truth of history, game theory, maps, puzzles, performance, and installations. His interests in language, journalism, and game-playing provided a foundation for artworks which typically invite viewer participation and incorporate variable possibilities for resolution. The works ’ visual and textual openness helps them to avoid a stern didacticism. They are poetic as well as critical. Fahlström discussed his process in “Sausages and Tweezers – A Running Commentary” (1966): “My basic interpretation of the concept of a game – and my artistic use of it – is not evolved from the strategy theories of von Neumann, Hermann Kahn, etc. I am more inclined to refer to Cage’s method of composition, and psychologists such as T. Leary and E. Berne. But above all, the idea of a game for me is a simple, fundamental out look on life, dating back to the time of my Concrete Manifesto (1953).” Öyvind Fahlström was greatly under-recognized during his lifetime; however, critical interest in his work has recently exploded on the international and national scene, as demonstrated by the current retrospectives and catalogues in progress in Europe and his selection for inclusion in Documenta X, the world’s most prestigious art exposition (1997). Fahlström is viewed by many to be a progenitor of Pop Art, Installation Art and genres of political art. His work, critically received as avant·garde and socially responsible, has influenced generations of younger artists. This exhibition traveled to six other educational institutions: the Haggerty Museum of Art (Marquette University), Selby Galleries (Ringling School of Art and Design), Gibson Art Galleries (State University of New York), The Mesaros Galleries (University of West Virginia), Herron Gallery (University of Indiana – Purdue), and Arizona State University Art Museum. The exhibition was accompanied by 20-page, black-and-white and color catalog
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