1. urban graffiti, tribal art, and the creations of children and the insane. urban graffiti, tribal art, and the creations of children and the insane ART BRUT TACHISME ART INFORMEL Jean Dubuffet "In my paintings, I wish to recover the vision of an average and ordinary man without using techniques beyond the grasp of an ordinary man." The driving force behind the early works was Dubuffet's entirely novel and extraordinary painting technique. He combined almost any element with the paint surface, including cement, tar, gravel, leaves, silver foil, dust and even butterfly wings. Dubuffet created clotted surfaces by mixing oil paint with grit and urban detritus. ‘Art should be born from the materials and, spiritually, should borrow its language from it. Each material has its own language so there is no need to make it serve a language.' Matériologies

2. Dhotel nuance d'abricot, 1947, O/C, 45 x 35” “Personally, I believe very much in values of savagery; I mean: instinct, passion, mood, violence, madness." Smiling Face (La Bouche en croissant) 1948 Oil and sand on canvas. 36 x 28 1/2 in

3. The Cow with the Subtle Nose, 1954 oil and enamel on canvas, 35 x 45”

4. Lever de lune aux fantômes (moonrise with ghosts) 1951 oil on isorel, 23.6 x 28.7 in

5. Voyageur en riches terres (traveling in rich lands), 1954

6. Madame j'ordonne, 1954

7. "The word Hourloupe was the title of a small book recently published and in which figured, with a text in jargon, reproductions of drawings using red and blue ballpoint pens. I associate it, by assonance, to " hurler " (to roar), to " hululer " (to hoot), to " loup " (wolf), to " Riquet à la Houppe " and the title of Maupassant's book " Le Horla " inspired by mental instability. " Hourloupe 1962 to 1974 " One expects a painting to open new pathways to how we look at our everyday life (...) Now it is necessary to become conscious of what we take as real and that what strongly appears to us as such (as such alone) is nothing more than an arbritary interpretation of things to which can be as well substituted by another. The distinction that we make between real and imaginary is badly founded. The interpretation of real, which seems to us vericious, irrefutable, is only an invention of our spirit, or say rather, an antique invention collectively adopted and of which our spirit is persuaded of. Nothing other than convention. It is not forbidden to imagine the interpretation of a world deciphered differently, regulated differently, than those which we have held until now in full confidence. The cycle of works which has been given the name L'Hourloupe answers an undertaking of that sort... "

8. Rue de l'Entourloupe (Entourloupe Street) 1963 A new use of line/perspectural ambiguity Retardation of seeing (readings rather than recognition)

9. Jean Dubuffet used a hot wire to sculpt models from a block of polystyrene with as much " liberty and ease as a pencil gliding over paper “ Later, he transferred and molded from polystyrene to epoxy resin.

10. “The Logologique Office is the subjective universe as it appears to me digested by my thinking; or, in other words : The Logologique Office is like a fish that would itself secrete the water in which it swims.” Cabinet Logologique, 1967-1969

11. Epoxy resin and concrete with polyurethane paints built between 1971 and 1973 (and altered in 1976) Surface area 1610 m2, highest point 8 m Jean Dubuffet Foundation, Périgny-sur-Yerres, Val-de-Marne (France) Closerie Falbala

12. Monument au fantôme epoxy resin with polyurethane paints 10 m Made in 1983 after a 1969 model Interfirst Plaza, Houston, Texas (USA) Group of Four Trees epoxy resin with polyurethane paints, 12 m. made in 1972 after a 1970 model Chase Manhattan Plaza, New York (USA)

13. Head of a hostage no. 1 1944 Mixed media on paper mounted on linen 14 x 10 1/2 in. (35.6 x 26.7 cm) Jean Fautrier

14. Head of a Hostage, No. 14, 1944 Oil on paper 13 3/4 x 10 1/2 in. (34.9 x 26.7 cm)

15. Head of a Hostage 1943-4 Tête d'otage Lead and slate object: 540 x 295 x 310 mm, 25.2 kg Jean Fautrier

16. The manipulation of space and its interaction with two and three dimensional form was his greatest contributions to 20th century art. Lucio Fontana Movimento Spaziale founder of Spatialism Precursor of environmental art, performance art, land art and Arte Povera. "Luce spaziale", 1951, neon structure, IX Triennale, Milan, Italy

17. Concetto spaziale (spacial concept) 1950 - 1953 Aniline and glass on natural burlap 31 1/2 x 25 5/8 inches 80.5 x 65 cm Lucio Fontana Buchi (‘holes’), beginning in 1949

18. Concetto spaziale Executed in 1951-52 'l. Fontana' (lower right) painted terracotta 9 1/8 x 11in Lucio Fontana

19. Concetto spaziale 1957 gouache and graphite on board 19 x 26 3/4 inches

20. Concetto spaziale 1958 ink and graphite on canvas 39 x 31 inches

21. Concetto Spaziale, Natura bronze sculptures 1959-60

22. Lucio Fontana Tagli (‘slashes’) from the mid-1950s

23. Concetto Spatiale 1959 100 x 125 cm. Lucio Fontana

24. Concetto Spaziale 1964 waterpaint and oil on canvas 55 x 46 cm Lucio Fontana "an art for the Space Age"

25. Three Studies for Figures at the Base of a Crucifixion (1944) oil paint and pastel on Sundeala fibre board 94 cm × 74 cm (37 in × 29 in) Francis Bacon

26. Study of a nude 1952-3 oil on canvas Francis Bacon

27. Study After Velazquez's Portrait of Pope Innocent X 1953 (200 Kb); Oil on canvas, 153 x 118.1 cm (60 1/4 x 46 1/2 in) Velasquez Innocent X c. 1650

28. Head VI 1949 (290 Kb); Oil on canvas, 93.2 x 76.5 cm (36 5/8 x 30 1/8 in)

29. Francis Bacon Study for Chimpanzee, March 1957 Oil and pastel on canvas 152.4 x 117 cm

30. Paralytic Child Walking on All Fours (from Muybridge), 1961, oil on canvas, 198 x 142 cm.

31. Retrato de George Dyer en un espejo Fecha: 1968 Tipo: Óleo sobre lienzo Medidas: 198 x 147 cm

32. Self-Portrait 1971 (200 Kb); Oil on canvas, 35.5 x 30.5 cm (14 x 12 in)

33. http://www.yveskleinarchives.org/works/flash/zones01.pdf http://www.yveskleinarchives.org/works/works12_us.html http://www.yveskleinarchives.org/works/works3_us.html Performance art Conceptual art

34. The International Klein Blue (IKB) the physical manifestation of cosmic energy that, otherwise invisible, floats freely in the air 'Proposte Monochrome, Epoca Blu' (Proposition Monochrome; Blue Epoch) Gallery Apollinaire, Milan, (January 1957) 11 identical blue canvases, using ultramarine pigment suspended in a synthetic resin 'Rhodopas' Untitled blue monochrome (IKB 82), 1959. Dry pigment in synthetic resin on canvas, mounted on board, 36 1/4 x 28 1/4 x 1 1/4 inches

35. ARCHISPONGE natural sponges, pebbles and dry blue pigment in synthetic resin on panel 78 3/4 x 65 in. 200 x 165 cm YVES KLEIN

36. Blue Sponge, 1959 Dry pigment in synthetic resin on sponge with metal rod and stone base, 39 x 12 x 10 inches

37. Exhibition at the Iris Clert Gallery (April 1958) La spécialisation de la sensibilité à l’état matière première en sensibilité picturale stabilisée, Le Vide (The Specialization of Sensibility in the Raw Material State into Stabilized Pictorial Sensibility, The Void) “Recently my work with color has led me, in spite of myself, to search little by little, with some assistance (from the observer, from the translator), for the realization of matter, and I have decided to end the battle. My paintings are now invisible and I would like to show them in a clear and positive manner, in my next Parisian exhibition at Iris Clert's."

38. Between the creation of the piece in 1959 and his death in 1962, eight Zones were sold, of which at least 3 involved the elaborate ritual. Zone de Sensibilité Picturale Immatérielle (Zone of immaterial pictorial sensibility)

39. "Klein's receipts verify the existence of an invisible work of art, which prove that a formal sale has taken place. As Klein establishes in his 'Ritual Rules', each buyer has two possibilities; If he pays the amount of gold agreed upon in exchange for a receipt, Klein keeps all of the gold, and the buyer does not really acquire the "authentic immaterial value" of the work. The second possibility is to buy an immaterial zone for gold and then to burn the receipt. Through this act, a perfect, definitive immaterialization is achieved, as well as the absolute inclusion of the buyer in the immaterial.... Klein presents capitalist trading strategies and illuminates his ideas about the indefinable, incalculable value of art.“ Yves Klein, Berggruen Hollein & Pfeiffer, Hatje Kantz 2004 p221 Yves Klein and Dino Buzzati engaged in the ritual transfer of immateriality, January 26, 1962 transfer of immateriality ritual

40. Le Saut dans le Vide (Leap into the Void) Photomontage by Harry Shunk of a performance by Yves Klein at Rue Gentil-Bernard, Fontenay-aux-Roses, October 1960.

41. Nouveau Realisme (New Realism) = New Perceptual Approaches To The Real The critic Pierre Restany, founded the Nouveau Realisme group in Klein's apartment, on 27 th October 1960. Founding members were Arman, Francois Dufrêne, Raymond Hains, Yves Klein, Martial Raysse, Daniel Spoerri, Jean Tinguely, and Jacques Villeglé, with Niki de Saint-Phalle. Christo and Duchamp joining later. Alongside works by Andy Warhol and Willem De Kooning, Yves Klein's painting RE 46 (1960) was among the top-five sellers at Christie's Post-War and Contemporary Art sale in May 2006. His monochromatic blue sponge painting sold for $4,720,000 http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159497653 http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159497653 Previously, his painting RE I (1958) had sold for $6,716,000 at Christie's New York in November In 2008 MG 9 (1962), a monochromatic gold painting, sold for $21,000,000 at Christie's.