Description
38 different issues of the Iris Time magazine published by the Galerie Iris Clert from 1962 to 1975, starting with issue #1.
The Iris Time is a small 4-page flier, printed on newsprint, which served as an announcement for the exhibitions at the Iris Clert gallery in Paris. Far from being formal, it was a magazine filled with humour, surrealism and parody. The artists had free rein there, the classifieds and horoscopes are a hoot, subscribers include some renowned people of the art world such as Man Ray.
Besides being historical, these magazines show the vitality, humour and creativity of the artists during this revolutionary artistic and political period. And the daring personality and incredible intuition of Iris Clert who showed in her avant-garde gallery the work of many artists like Yves Klein or Arman before they became famous, propelling them to the front of the international art scene.
In this set: #1 – François Dallégret (Octobre 1962) – #2 – Bro (Novembre 1962) – #3 – Meilleurs vœux pour 63 (Décembre 1962) – #4 – Stevenson (Février 1963) – #5 – Salon d’Avril 1963 (Avril 1963) – #6 – Bill Copley (Mai 1963) – #7 – Ad. Reinhardt (Juin 1963) – #8 – Chaissac (Juillet 1963) – #10 – Pol Bury (Novembre 1963) – #11 – Van Hœydonk (Janvier 1964) – #12 – Fontana (Février 1964) – #13 – Marcel Barbeau (Mars 1964) – #14 – Jean Paulhan (Avril 1964) – #15 – Golub (Mai 1964) – #16 – Stevenson (Octobre 1964) – #17 – Van Thienen (Novembre 1964) – #18 – Neo-Individualisme (Mars 1965) – #19 – Roy Adzak (Mars 1965) – #20 – Boris Vansier (Juin 1965) – #21 – Raymond Hains (Octobre 1965) – #22 – Bro (Novembre 1965) – #23 – Geissler (Décembre 1965) #24 – Habbah (Mars 1966) – #25 – Pierre de Maria (Mai 1966) – #27 – Uriburu (Février 1967) – #28 – Waldo Balart (Mars 1967) – #29 – Boris Vansier (Mai 1967) – #31 – Meilleurs Vœux (Décembre 1967) – #32 – Fahri (Février 1968) – some damage at the bottom. – #34 – Roy Adzak (Décembre 1968) – #37 – Jef Verheyen (Novembre 1970) – #38 – Jacques Potin (Mai 1971) – #39 – Coloretti (Juin 1971) – #41 – L’art-Science (Novembre 1972) – #42 – Lauro (Novembre 1973) – #43 – Coloretti (Février 1974) – #44 – François Monchatre (Mai 1974) – #46 – Lauro (Avril 1975)
7.28″x 10.23″ (18.5cm x 26cm – Spread is 37cm x 26cm)
Published at between 1000 and 4500 copies, depending on the issue.
Very good condition (light tear and wear given their age). Only two have small issues but are fully legible.
Not sold individually. If you want a specific issue, please contact us.
Iris Clert (1917 – 1986) was a Greek-born art gallery owner and curator. She owned the Galerie Iris Clert in Paris from 1955 to 1971. Her gallery became an avant-garde hotspot in the international art scene, particularly to Yves Klein, Jean Tinguely and Arman.
Originally of Greek nationality, Clert moved to Paris in the 1930s. She became active in the French Resistance during the Second World War.
In 1961, Clert invited Robert Rauschenberg, who would become one of the forerunners of the Neo-Dada movement, to participate in an exhibition at the gallery, in which artists were to create and display a portrait of Clert. Rauschenberg proceeded to send a telegram to the Gallery, containing the words “This is a portrait of Iris Clert if I say so/ Robert Rauschenberg”. This turned out to be a seminal piece for Rauschenberg, signifying a step away from the Dadaist work of Marcel Duchamp and Jasper Johns – which tended to focus on the role of the observer in applying meaning to a work of art – and towards a more active role of the creator in defining art’s meaning.
The single-room gallery was located on 3 rue des Beaux-Arts in Paris, France. It was open from 1955 to 1976 and during that time housed artworks from many successful and influential artists of the time, including Yves Klein, Jean Tinguely, Arman, Takis and René Laubies.
To learn more about this incredible art gallery, https://en.wikipedia.org/wiki/Iris_Clert_Gallery
