Arman (November 17, 1928 – October 22, 2005) stands as a pivotal figure in the realm of contemporary art, known for his innovative approach to using everyday objects as the core of his artistic expression. Born Armand Fernandez in Nice, France, Arman began his career with a unique technique that captured the traces objects left behind, referred to as cachets and allures d'objet. This early work laid the foundation for his later, more renowned pieces, where he transitioned from merely depicting objects to incorporating them directly into his artwork. Arman’s legacy is most prominently marked by his Accumulations and the destruction/recomposition of objects, where he meticulously assembled and deconstructed common items to challenge and redefine the boundaries of art. His journey from a traditional painter to a pioneer who transformed mundane objects into profound artistic statements reflects his deep exploration of materiality and form, positioning him as a significant contributor to 20th-century art.
Artist Biography: Arman
Armand Fernandez, better known by his artistic pseudonym Arman, was born on November 17, 1928, in Nice, France. His early life was profoundly influenced by his father, Antonio Fernandez, an antiques dealer and amateur artist who introduced him to oil painting and photography. After receiving his bachelor's degree in philosophy and mathematics in 1946, Arman pursued his artistic education at the École Nationale des Arts Décoratifs in Nice. It was during this time that he developed a passion for judo, which led to a significant friendship with fellow students Yves Klein and Claude Pascal. This trio's bond strengthened through a hitchhiking tour around Europe, cementing Arman’s connections within the avant-garde community. Arman's formal studies culminated at the École du Louvre in Paris, where he focused on archaeology and Asian art. He briefly taught judo at the Bushido Kai Judo Club in Madrid before serving as a medical orderly in the French military during the Indo-China War. These experiences enriched his worldview and artistic perspective, eventually guiding him towards innovative artistic expressions.
In the early stages of his career, Arman explored the concept of accumulation, a theme that would become a cornerstone of his work. Initially, he focused on abstract paintings but soon shifted his attention to creating accumulations of objects, beginning with rubber stamps and later expanding to include metal objects like watches and axes. Inspired by a 1954 exhibition of German Dadaist Kurt Schwitters, Arman began developing his Cachets series, which consisted of stamp marks on paper and fabric. This series marked his first major artistic success and a significant pivot in his career. In 1957, Arman adopted the single-name signature "Arman," in homage to Vincent van Gogh. Upon becoming a U.S. citizen in 1973, he took the civil name "Armand Pierre Arman" but continued to use "Arman" professionally. From 1959 to 1962, Arman established his signature styles of Accumulations and Poubelles. Accumulations involved assembling similar objects within transparent castings or Plexiglas cases, while Poubelles featured everyday refuse encased in resin blocks. These works challenged conventional art by transforming mundane objects into high art, reflecting themes of mass production and consumerism.
Arman co-founded the Nouveau Réalisme group in 1960, alongside artists like Yves Klein and Jean Tinguely. This collective sought to reassess art's role in a consumer society, promoting a new approach to reality. Arman also became affiliated with the ZERO art movement in Germany. His debut in the United States in 1961 marked a period of exploration into creation through destruction, with works like Coupes and Colères, which featured sliced, burned, or smashed objects. In New York City, Arman’s fascination with the urban art scene led him to create large public sculptures. His work during this time included diverse expressions of Accumulations, utilizing tools, watches, clocks, furniture, and musical instruments. Notable works include Long Term Parking, a massive sculpture of cars set in concrete, and Hope for Peace, a monument made from military vehicles.
Arman's personal life saw two marriages and six children. He married Eliane Radigue in 1953 and later Corice Canton in 1971. Arman passed away in New York in 2005, and some of his ashes were buried at the Père Lachaise Cemetery in Paris. His innovative use of everyday objects continues to influence artists and provoke audiences, ensuring his legacy in modern and contemporary art.
Arman in front of one of his Accumulations at Stedelijk Museum in 1969 , © Jack de Nijs for Anefo via Wikipedia
Brief History of Nouveau Réalisme
Nouveau Réalisme (French for "new realism") is an artistic movement founded in 1960 by art critic Pierre Restany and painter Yves Klein during the first collective exposition in the Apollinaire Gallery in Milan. Restany authored the original manifesto, "Constitutive Declaration of New Realism," in April 1960, asserting "Nouveau Réalisme—new ways of perceiving the real." This manifesto was formally signed on October 27, 1960, in Klein's workshop by nine artists: Yves Klein, Arman, Martial Raysse, Pierre Restany, Daniel Spoerri, Jean Tinguely, and the Ultra-Lettrists François Dufrêne, Raymond Hains, and Jacques de la Villeglé. The group expanded in 1961 to include César, Mimmo Rotella, Niki de Saint Phalle, and Gérard Deschamps. Although Christo exhibited with the group, Nouveau Réalisme dissolved in 1970.
Contemporary with American pop art, Nouveau Réalisme is often considered its French counterpart and one of the various avant-garde movements of the 1960s, alongside Fluxus and others. The group initially gravitated towards Nice, on the French Riviera, largely because of Klein and Arman's origins there. Historians often retrospectively identify Nouveau Réalisme as an early representative of the École de Nice movement. The term "new realism" first appeared in 1948, coined by painter Jean Milhau in the journal Arts de France, affiliated with the French Communist Party. Milhau defined the movement as emerging from modern culture and technology, advocating a return to objective reality and emphasizing the social content of all reality. André Fougeron propelled the movement with works like "Les Parisiennes au Marché," exhibited in 1948. However, by the 1950s, the movement fell out of favor with the PCF, leading many artists to adopt new styles. The term was revived in May 1960 by Pierre Restany to describe works by Omiros, Arman, François Dufrêne, Raymond Hains, Yves Klein, Jean Tinguely, and Jacques Villeglé during their exhibition in Milan. A second manifesto, "40° above Dada," was penned between May 17 and June 10, 1961. New members César, Mimmo Rotella, Niki de Saint-Phalle, Gérard Deschamps, and later Christo, joined the movement. Despite Klein distancing himself from the group in 1961, several significant exhibitions occurred, including at the Paris "Festival d'avant-garde" in 1960 and the Sidney Janis Gallery in New York in 1962.
Nouveau Réalisme members sought to merge life and art, incorporating parts of the world into their works and emphasizing a "collective singularity" in their diverse approaches. They practiced direct appropriation of reality, which Restany described as "poetic recycling of urban, industrial, and advertising reality." This philosophy aimed to strip art of preconceived meanings, presenting objects as themselves while maintaining their status as art. The movement emphasized public creation, often producing art pieces collaboratively and anonymously within urban spaces. The movement's techniques included collage and assemblage, directly incorporating real objects into artworks, drawing influence from Marcel Duchamp's readymades. While often compared to pop art for their use of mass-produced objects, Nouveau Réalisme maintained closer ties to Dada, particularly through the décollage technique, exemplified by artists like François Dufrêne, Jacques Villeglé, Mimmo Rotella, and Raymond Hains. Nouveau Réalisme's legacy persists through its innovative approach to integrating reality into art, influencing contemporary art's interaction with everyday objects and mass culture.
Sans Titre (1965) by Arman
Arman, Sans Titrem 1965. Printmaking, Screenprinting on Paper, 56.9cm x 37.8cm.
Sans Titre (1965) is a captivating printmaking piece by Arman, showcasing his innovative use of silkscreen and typographic press techniques on handmade paper. The artwork features an abstract composition with vibrant splashes of blue, red, and yellow set against an off-white background. Measuring 57.5 x 40 cm, this striking piece exemplifies Arman's ability to blend bold colors and dynamic forms. Stamped by the artist in the lower right corner, Arman's Sans Titre from 1965 is a testament to his mastery in creating visually compelling works.
Sans Titre (2005) by Arman
Arman, Sans Titre, 2005. Sculpture, 75 cm x 36 cm.
Sans Titre (2005) is a remarkable sculpture by Arman, created during the final year of the artist's life. This piece exemplifies Arman's innovative approach to art, as it features a musical instrument that has been deconstructed and then meticulously reassembled into a new, abstract form. This method of art-making introduces a three-dimensional aspect to Cubism, bringing it to life in a dynamic and tangible way. Arman's work is known for its exploration of assemblage art, a technique where everyday objects are transformed into unique sculptures. Throughout his career, he utilized various objects—such as musical instruments, tools, and household items—to create thought-provoking pieces that challenge traditional artistic conventions. In Sans Titre (2005), the restructured musical instrument not only highlights Arman's affinity for musical forms, influenced by his mother's musical background, but also embodies his lifelong fascination with the processes of production, consumption, and destruction. This sculpture stands as a testament to Arman's legacy in the art world, showcasing his ability to reinterpret and revitalize ordinary objects into extraordinary works of art. His influence on contemporary assemblage art remains profound, inspiring artists to explore the potential of found objects and everyday materials in new and inventive ways.
Iconic Artworks
Arman's iconic artworks span his prolific career, showcasing his unique approach to assemblage and the transformation of everyday objects into profound statements. Notable pieces include Long-term Parking (1982), a monumental column of encased cars that speaks to mass consumption and industrialization, and Madison Avenue (1962), which captures the commercial spirit of New York through accumulated objects. Crusaders (1968) and Hope for Peace (1995) reflect his engagement with social and political themes, while Dirty Painting (1989) and Untitled (1995) demonstrate his innovative use of mixed media. His later works, such as Guitars (2005) and Mandoline (2004), continue to explore musical forms, merging them with everyday materials to create dynamic sculptures. Paintbrushes V (1991) and Red Tubes of Paint (1980) highlight his playful yet critical approach to the tools of art-making, embodying his lifelong fascination with the creative process.
Exhibition History
Arman’s exhibition history is a testament to his global influence and the profound impact of his work across multiple decades. In the 1960s, his exhibitions included notable venues such as the Stedelijk Museum in Amsterdam, the Walker Art Center in Minneapolis, and the Palais de Beaux-Arts in Brussels. The 1970s saw his work displayed in the Modern Art Museum in Stockholm and the John Gibson Gallery in New York, among others. His acclaimed series "Accummulations Renault" toured extensively through Europe, showcasing his unique assemblages in institutions such as the Musée des Arts Décoratifs in Paris and the Moderna Museet in Stockholm. The 1980s featured major retrospectives, including a traveling exhibition that started at the Kunstmuseum in Hanover and made stops in Israel, France, and Germany. The 1990s continued this momentum with retrospectives at the Brooklyn Museum and the Detroit Institute of Arts, and exhibitions in Tokyo and Milan. The turn of the century saw Arman’s works exhibited in Taipei, Barcelona, and Monterrey, reflecting his enduring relevance and international appeal. His later years were marked by significant retrospectives at prestigious institutions like the Centre Georges Pompidou in Paris and the Museum Tinguely in Basel, underscoring his lasting legacy in the art world.
Arman (November 17, 1928 – October 22, 2005) stands as a pivotal figure in contemporary art, known for his innovative use of everyday objects to create profound artistic expressions. Born in Nice, France, Armand Fernandez began his career capturing the traces left by objects, a technique known as cachets and allures d'objet. This early exploration laid the foundation for his later, more renowned works, where he transitioned from depicting objects to incorporating them directly into his art. Arman’s legacy is most prominently marked by his Accumulations and the destruction/recomposition of objects, meticulously assembling and deconstructing common items to challenge and redefine the boundaries of art. His journey from a traditional painter to a pioneer who transformed mundane objects into significant artistic statements reflects his deep exploration of materiality and form, positioning him as a significant contributor to 20th-century art. Arman's influence continues to be felt, inspiring new generations of artists to explore the intersection of everyday objects and artistic expression.
Selena Mattei
