Original color lithograph, archivally matted and framed. 24 1/2 x 20 1/2 inches
1927 – Pierre Alechinsky is born in Brussels.
1944 – Alechinsky studies at the Cambre National Superior School of Architecture and Decorative Arts in Belgium, where he learned illustration, printing techniques and photography.
1949 – Alechinsky meets the poet Christian Dotremont, founder of the Cobra movement along with Karel Appel and Asger Jorn which he joins.
1951 – Studies engraving with Stanley William Hayter in studio 17.
1955 – Vacation in Japan, first major exhibition in the Centre of Fine Arts in Brussels.
1959 – Personal exhibition in Kunsthalle of Bern, Switzerland
1962 – Alechinsky exhibits regularly in the Lefebvre Gallery of New York and the Gallery of France in Paris.
1965 – The artist creates his first “marginal comments” painting: Central Park.
1966 – Alechinsky publishes “Ideotraces”, one of his first significant books on painting, written in 1953.
1967 – Establishes an engraving studio in Bougival.
1972 – Represents Belgium, along with Dotremont, at the XXXVI Venice Biennial Exhibition, in the Belgium Pavilion.
1975 – Alechinsky is exhibited at the Paris Museum of Modern Art.
1982 – Exhibition with Appel at the Maeght Foundation in Saint-Paul-de-Vence.
1983 – Alechinsky becomes a painting instructor at the Paris National Superior School of Fine Arts until 1987
1987 – Pierre Alechinsky: Margin and Center, Solomon R. Guggenheim Museum, New York U.S.A.
1997 – Release of Marginal Comments at Gallimard, Paris.
ALECHINSKY – THE MAIN EXHIBITIONS
1955 – Palais des Beaux-arts of Brussels, Belgium.
1956 – Kunsthalle of Bern, Switzerland.
1961 – Stedelijk Museum of Amsterdam and Kuntskring of Rotterdam, Holland.
1963 – Biennale of Sao Paulo, Brazil.
1969 – Palais des Beaux-arts of Brussels, Belgium.
1975 – Museum of Modern Art, Paris, France.
1977 – Museum of Art, Carnegie Institute, Pittsburgh, USA.
1981 – Beaux-Arts Museum, Montreal, Canada.
1983 – Museo Espanol de Arte Contemporaneo, Madrid, Spain.
1992 – Fine Arts Museum, Taipei, Taiwan.
1998 – Galerie nationale du Jeu de Paume, Paris, France.
ALECHINSKY – BIBLIOGRAPHY
1966 – « Alechinsky, Idéotraces », Ed. Denoël.
1974 – « Alechinsky, le test du titre », Ed. Yves Rivière
1988 – « Alechinsky, centre et marges », Ed. Musées Royaux des Beaux-arts de Belgique.
1998 – « Alechinsky », Ed. Centre National du jeu de Paume.
2007 – « Alechinsky de A à Y » from Michel Draguet, Ed. Gallimard.
“1 Cent Life” began as a simple idea by artist Walasse Ting in 1962, developed during talks he had with his friend the artist Sam Francis. Ting wanted to combine international artists and different styles into a single book, linking them together in one collective spirit alongside his own art and poetry.
“1 Cent Life” was a landmark publication from 1964, and now a collectable book based on the impressive artwork it contains. It was a revolutionary tract for a collective aesthetic; an assembled vision of Pop and European abstraction, featuring flat hard-edged and splatter painting; biomorphic art, splashing florescent colors and monochromes all meeting up in a single loud and dynamic package. “1 Cent Life” is among the most beautifully conceived and artistic book-works of the 1960s, unlike anything published before or after.
With large empty spaces next to areas of maximum color saturation and layered density, “1 Cent Life” was an inspirational book of 1960s design and spirit – a polyglot enterprise –and certainly Ting’s best known work.
“1 Cent Life” is a large elephant-folio unbound book containing 62 lithographs made by 28 European and American artists with 62 letterpress poems by Walasse Ting and set in multi-colored inks. The lithography was realized and printed in Paris by Maurice Beaudet and the typography carried out in handset letterpress by George Girard. The book was published by E. W. Kornfeld, Bern, Switzerland in 1964, and edited by artist Sam Francis.
Ting’s poems are jarring and mystical, sometimes epic and soaring, screamed out in all-capitalized letters or whispered in lower-case, creating a language lost in limbo, choked off from reality, lacking standard grammar and punctuation, soaked with impulsive wit and exoticism – a language of a complete new consciousness – a tongue that is bound with the earth and sky, inflamed and out of sync with technology and the world. Ting is difficult but always true to himself.
“1 Cent Life” was dedicated to the maverick Detroit-based contemporary art collector Florence Barron, most famously known as the woman who in 1963 commissioned Andy Warhol to produce his first self-portraits. It is speculated that Florence Barron put up the funds necessary to print the edition, as one of the main themes of her collection was her love of books and words and their relationship to contemporary art, advertising media and culture. Florence may have just been close friends with Ting, an artist she supported and promoted, among her friends and contacts.
In addition to the original printing of 1900 unsigned copies, there was a numbered portfolio edition of 100 signed copies in a pink cloth-covered solander box. There are 62 original lithographs in colors by; Pierre Alechinsky, Karel Appel, Enrico Baj, Alan Davie, Jim Dine, Oyvind Fahlstrom, Sam Francis, Robert Indiana, Alfred Jensen, Asgar Jorn, Allan Kaprow, Alfred Leslie, Roy Lichtenstein, Joan Mitchell, Kiki O.K., Claes Oldenburg, Mel Ramos, Robert Rauschenberg, Reinhold, J.P. Riopelle, James Rosenquist, Antonio Saura, Kimber Smith, K.R.H. Sonderberg, Walasse Ting, Bram Van Velde, Andy Warhol and Tom Wesselmann.
The chosen title; “1 Cent Life” is ambiguous and unclear. His respect for the low and neglected is evident throughout the book, where painting, women and food are at the core of Ting’s life and there is little need for monetary considerations. Prostitutes, bums, movie stars, the Pope and J.F.K. are given equal billing in the poems.
There is no hierarchy or order to “1 Cent Life”, no artist is featured and all pages are loose and removable. The title could refer to “one sent life” – a nod to the creator (artistic or spiritual) as in the unity of the collection of artists contained within. Ting’s ideas and canvas were always in the now, a reflection of the eternity present in everything.