Arman

Born in Nice in 1928, Armand Pierre Fernandez (1928 - 2005) showed a precocious talent for painting and drawing as a child. (Inspired by Vincent van Gogh, he signed his early work with his first name only; he retained a printer’s 1958 misspelling of his name for the rest of his career.)

Arman is best known for his unique style of found-object sculpture. Inspired by the philosophies and aesthetics of Dadaism, the artist gathered forks, instruments, and teapots which he staged within vitrines.

“I specialize very much in… everything,” - Arman told an interviewer in 1968. 

Today he is regarded as one of the most prolific and inventive creators of the late 20th century. His work had a strong influence on Pop Art. 

A close friend of Andy Warhol, Arman was spending a lot of time in New York and moved there in 1960d. He adopted destruction as a strategy for creating something new—slicing, burning, and smashing objects such as bronze statues and musical instruments to mount on canvas. 

Arman’s work is in the collections of such institutions as the Metropolitan Museum of Art in New York, Fine Arts Museums of San Francisco, California, The Detroit Institute of Arts, Everson Museum of Art, Bellevue Art Museum in Washington, Boca Raton Museum of Art, the Tate Gallery in London and the Centre Pompidou in Paris.

费尔南德斯·阿尔曼（Fernandez Arman，1928年-2005年）是一位美籍法国艺术家，以其独特的发现对象雕塑风格而闻名。受达达主义的哲学和美学启发，这位艺术家收集了叉子，工具和茶壶，并把它们放在玻璃橱柜中。

“我非常擅长……一切，” –阿尔曼（Arman）在1968年告诉一位采访者。

今天，他被认为是20世纪后期最多产和最具创造力的创造者之一。他的作品对波普艺术产生了深远的影响。

阿曼是安迪·沃霍尔（Andy Warhol）的密友，他在纽约呆了很多时间，并于1960年代搬到了纽约。他采用破坏作为创建新事物的策略，例如将铜像和乐器之类的物体切成薄片，燃烧和粉碎，然后再安装在画布上。

阿尔曼（Arman）的作品藏在纽约大都会艺术博物馆，加利福尼亚旧金山美术博物馆，底特律艺术学院，埃弗森艺术博物馆，华盛顿贝尔维尤艺术博物馆，华盛顿博卡拉顿艺术博物馆等机构的收藏中，伦敦的泰特美术馆和巴黎的蓬皮杜艺术中心。

Sculpture "Bon Sante" by Fernandez Arman, 1996

Bottle caps in plexiglass, signed and numbered, Ed. 35

Bronze sculpture "Saxophones" by Fernandez Arman

Bronze, Signed and numbered, Ed. 140

Rare sculpture "Pubelle de Tubes" by Fernandez Arman, 1993

Tubes of paint in plexiglass, signed and numbered, Ed. 35