Word: kiesler
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Dates: during 1960-1969
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Necessary Mystery. When the U.S. team of architects, M.I.T.-trained Armand Bartos and Viennese-born Frederick Kiesler were approached by the Israeli government and asked to build a shrine for the scrolls, they knew that a boxlike building could fulfill the function. But they were struck by the historic coincidence in 1947 of the discovery of the 2,000-year-old scrolls in the Essene-sect caves with the re-emergence of the state of Israel. Deciding that the twin events cried out for symbolic representation, they found their guideline in the mystery that man from time immemorial has associated...
...This will be the first ideological building in our time dedicated to the rebirth of man," Kiesler declared. Furthermore, as Bartos pointed out, "the scrolls are not visual as a Rembrandt is visual. Only scholars can actually decipher them. It was up to us to say something about them. We built up an air of mystery." This they did by burrowing the bulk of the shrine underground like a cave...
...stretch of sea, sand and shore towns, the Hamptons have attracted artists ever since the 1870s, when Winslow Homer went there to paint impressionistic oils of ladies dipping their toes in the surf. Last week the art colony was at its midseason busiest. The oldest colonial, visionary Architect Frederick Kiesler, 67, was at work on a 46-ft. sculpture despite a recent heart attack. Sculptor Costantino Nivola, 53, a swarthy Sardinian who likes to cast concrete abstracts in a huge sand pit on his 40-acre property, was busy making a small sculpture of Kiesler...
GUGGENHEIM-Fifth Ave. at 89th. Frank Lloyd Wright's curvilinear museum makes a fitting setting for the "endlessness" of Architect-Sculptor Frederick Kiesler, who turns a room into a work of art, links painted and sculpted units to form a labyrinth of surprises. In the main gallery is the 120-work Van Gogh collection lent by the painter's nephew. Both exhibitions through June...
Flanked by panels painted with false perspectives, other bits of bronze, chunks of pavement, ax-hewn and charred wood catch the eye. Some parts of the sculpture peep from behind doors; others curlicue underneath canopies. One piece, or "galaxy" as Kiesler calls them, is titled The Cup of Prometheus, and appropriately contains a burning smudge pot. To encourage people to contemplate the work, Kiesler cast two 85-lb. aluminum stools that are exactly placed in reference to larger parts. The problem is that Kiesler has had to borrow his most precious commodity-space-from a polygonal room in Wright...