NO!art + ABOUT + FRONT + MANIPULATION + MAIL EN | DE
Bernard Rancillac | NO!art involvement INDEX
about search


ABOUT
EXHIBITIONS
PAINTINGS

NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.

STUETZPUNKT
FOUNDATION

NO!manipulation

 
Bernard Rancillac portrait

BERNARD RANCILLAC, born in 1931, in Paris, France. Painter of the new realism, treated in his works the star-cult of the collective society with irony. An established French artist, Bernard Rancillac was one of the founders of the Narrative Figuration movement in 1964. He is highly interested in politics, a subject that influences his work. "Emotion is necessary in the conception of any artistic creation," he says. He uses a limited chromatic palette and geometric forms to give a strong sense of rhythm to his pieces. Rancillac began his career as a drawing teacher, and later studied print making under S.W. Hayter. In 1961 he was awarded a prize in painting at the Paris Biennale.—Lives in Paris.  WIKIPEDIA

2003  NO!art in BUCHENWALD
          Boris Lurie: Geschriebigtes/Gedichtigtes, catalogbook, Stuttgart
          Contribution: A LA MÉMOIRE D'ULRIKE MEINHOF # 11

NO!art involved Artists: ARMENTO + BAJ + BARATELLA + BECHER + BROWN + BRUNET + BRUS + CHORBADZHIEV + D'ARCANGELO + DAYEN + DE RUVO + EHM-MARKS + ERRO + FABRICIUS + FISHER + GATEWOOD + GEORGES + GERZ + GILLESPIE + GILMAN + GOLDMAN + GOLUB + GOODMAN + HALLMANN + HASS + HJULER + KAPROW + KIRVES + KUSAMA + KUZMINSKY + LEBEL + LEVITT + LONG + LST + LURIE + MASTRANGELO + MEAD + MESECK + PATTERSON + PICARD + PINCHEVSKY + RAMSAUER + RANCILLAC + ROUSSEL + SALLES + SALMON + SCHEIBNER + SCHLEINSTEIN + STAHLBERG + STUART + TAMBELLINI + TOBOCMAN + TOCHE + TSUCHIYA + VOSTELL + WALL + WOLF + WOYTASIK + ZOWNIR

NO!art has continued way beyond 1964 and also prior to 1958. The "cutting-off" date 1964, as espoused by the art historian is entirely artificial. Such cutting-off dates are common to art historians, done for cataloguing purposes, and what is more, for accreditation of monetary value in the art market. The cutting-off dates also have a devastating effect on the production of artists, who are, by those means, being convinced that what they produce after a cutting-off date is secondary in importance, and do not belong any longer to the "new times". Yet the art market hated it, for practical reasons of creating confusion about monetary value. That is the main and real reason for art historians and critics insisting on this untrue measure. - Boris Lurie, 2003.

line
© https://no-art.info/rancillac/_memo-en.html