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200);this.onload=null;this.rel=\u0026#039;stylesheet\u0026#039;\u0022 \/\u003E\n\u003C\/head\u003E\u003Cbody\u003E\u003Cdiv class=\u0022panels-ajax-tab-panel panels-ajax-tab-panel-profile\u0022\u003E\u003Cdiv class=\u0022one-column at-panel panel-display clearfix\u0022 \u003E\n  \u003Cdiv class=\u0022region region-one-main\u0022\u003E\n    \u003Cdiv class=\u0022region-inner clearfix\u0022\u003E\n      \u003Cdiv class=\u0022panel-pane pane-node-content no-title block\u0022\u003E\n  \u003Cdiv class=\u0022block-inner clearfix\u0022\u003E\n    \n            \n    \n    \u003Cdiv class=\u0022block-content\u0022\u003E\n      \u003Carticle id=\u0022article-10983\u0022 class=\u0022node node-artist article odd node-lang-en node-full 1 ia-r clearfix\u0022 role=\u0022article\u0022\u003E\n  \u003Cdiv class=\u0022article-inner\u0022\u003E\n\n    \n    \u003C!----\u003E\n\n    \n    \n    \u003Cdiv class=\u0022node-content\u0022\u003E\n    \u003Cdiv class=\u0022field field-name-field-featured-image field-type-image field-label-hidden view-mode-full view-mode-full\u0022\u003E\n    \u003Cdiv class=\u0022field-items\u0022\u003E\n          \u003Cfigure class=\u0022field-item\u0022\u003E\n        \u003Ca href=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/lenlye.jpg\u0022 title=\u0022\u0022 class=\u0022colorbox\u0022 data-colorbox-gallery=\u0022gallery-node-10983-AZc76AxgiFY\u0022 data-cbox-img-attrs=\u0022{\u0026quot;title\u0026quot;: \u0026quot;\u0026quot;, \u0026quot;alt\u0026quot;: \u0026quot;\u0026quot;}\u0022\u003E\u003Cimg class=\u0022image-style-wiki-profile\u0022 src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/styles\/wiki_profile\/public\/lenlye.jpg?itok=QrhA1va7\u0022 width=\u0022360\u0022 height=\u0022360\u0022 alt=\u0022\u0022 title=\u0022\u0022 \/\u003E\u003C\/a\u003E                   \n               \n              \u003Cfigcaption class=\u0022caption full-caption\u0022\u003E\u003C\/figcaption\u003E\n                                                        \u003C\/figure\u003E\n      \u003C\/div\u003E\n\u003C\/div\u003E\n\u003Cdiv class=\u0022field field-name-body field-type-text-with-summary field-label-hidden view-mode-full view-mode-full\u0022\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003E\u003Cp\u003E\u003Cstrong\u003ELen Lye\u003C\/strong\u003E, born \u003Cstrong\u003ELeonard Charles Huia Lye\u003C\/strong\u003E (5 July 1901, Christchurch, New Zealand - 15 May 1980, Warwick, New York), was a New Zealand-born artist known primarily for his experimental films and kinetic sculpture. His films are held in archives such as the New Zealand Film Archive, British Film Institute, Museum of Modern Art in New York City, and the Berkeley Art Museum|Pacific Film Archive at University of California, Berkeley. Lye\u0027s sculptures are found in the collections of the Whitney Museum of American Art, the Art Institute of Chicago, the Albright-Knox Art Gallery and the Berkeley Art Museum. Although he became a naturalized citizen of the United States in 1950, much of his work went to New Zealand after his death, where it is housed at the \u003Ca href=\u0022http:\/\/www.govettbrewster.com\/\u0022\u003EGovett-Brewster Art Gallery\u003C\/a\u003E in New Plymouth.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003ECareer\u003C\/strong\u003E As a student, Lye became convinced that motion could be part of the language of art, leading him to early (and now lost) experiments with kinetic sculpture, as well as a desire to make film. Lye was also one of the first Pakeha artists to appreciate the art of Maori, Australian Aboriginal, Pacific Island and African cultures, and this had great influence on his work. In the early 1920s Lye travelled widely in the South Pacific. He spent extended periods in Australia and Samoa, where he was expelled by the New Zealand colonial administration for living within an indigenous community.\u003C\/p\u003E\n\u003Cp\u003EWorking his way as a coal trimmer aboard a steam ship, Lye moved to London in 1926. There he joined the Seven and Five Society, exhibited in the 1936 International Surrealist Exhibition and began to make experimental films. Following his first animated film \u003Cem\u003ETusalava\u003C\/em\u003E, Lye began to make films in association with the British General Post Office, for the \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/GPO_Film_Unit\/\u0022\u003EGPO Film Unit\u003C\/a\u003E. His 1935 film \u003Cem\u003E\u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/A_Colour_Box\/\u0022\u003EA Colour Box\u003C\/a\u003E\u003C\/em\u003E, an advertisement for \u0027cheaper parcel post\u0027, was the first \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/direct_film\/\u0022\u003Edirect film\u003C\/a\u003E screened to a general audience. It was made by painting vibrant abstract patterns on the film itself, synchronizing them to a popular dance tune by Don Baretto and His Cuban Orchestra. A panel of animation experts convened in 2005 by the Annecy film festival put this film among the top ten most significant works in the history of animation (his later film \u003Cem\u003E\u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Free_Radicals\/\u0022\u003EFree Radicals\u003C\/a\u003E\u003C\/em\u003E was also in the top 50).\u003C\/p\u003E\n\u003Cp\u003ELye also worked for the GPO Film Unit\u0027s successor, the Crown Film Unit producing wartime information films, such as \u003Cem\u003EMusical Poster Number One\u003C\/em\u003E. On the basis of this work, Lye was later offered work for \u003Cem\u003E\u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/The_March_of_Time\/\u0022\u003EThe March of Time\u003C\/a\u003E\u003C\/em\u003E newsreel in New York. Leaving his family in England, Lye moved to New York in 1943.\u003C\/p\u003E\n\u003Cp\u003EIn \u003Cem\u003EFree Radicals\u003C\/em\u003E he used black film stock and scratched designs into the emulsion. The result was a dancing pattern of flashing lines and marks, as dramatic as lightning in the night sky. In 2008, this film was added to the United States National Film Registry.\u003Ca href=\u0022http:\/\/www.loc.gov\/today\/pr\/2008\/08-237.html\u0022\u003E\u0027Cinematic Classics, Legendary Stars, Comedic Legends and Novice Filmmakers Showcase the 2008 Film Registry\u0027\u003C\/a\u003E \u003Cem\u003ENews from the Library of Congress\u003C\/em\u003E (30 December 2008)\u003C\/p\u003E\n\u003Cp\u003ELye continued to experiment with the possibilities of direct film-making to the end of his life. In various films he used a range of dyes, stencils, air-brushes, felt tip pens, stamps, combs and surgical instruments, to create images and textures on celluloid. In \u003Cem\u003EColor Cry\u003C\/em\u003E, he employed the \u0027photogram\u0027 method combined with various stencils and fabrics to create abstract patterns. It is a 16mm direct film featuring a searing soundtrack by the blues singer Sonny Terry.\u003C\/p\u003E\n\u003Cp\u003EAs a writer, Len Lye produced a body of work exploring his theory of \u003Cem\u003EIHN\u003C\/em\u003E (Individual Happiness Now). He also wrote a large number of letters and poems. He was a friend of Dylan Thomas, and of Laura Riding and Robert Graves (their Seizin Press published \u003Cem\u003ENo Trouble\u003C\/em\u003E, a book drawn from Lye\u0027s letters to them, his mother, and others, in 1930). The NZEPC (New Zealand Electronic Poetry Centre) website contains a selection of Lye\u0027s writings, which are just as surprising and experimental as his work in other media. One of his theories was that artists attempt to reproduce themselves in their works, which he exposited in an essay complete with visual examples.\u003C\/p\u003E\n\u003Cp\u003ELye was also an important kinetic sculptor. He saw film and kinetic sculpture as aspects of the same \u0027art of motion\u0027, which he theorised in a highly original way in his essays (collected in the book \u003Cem\u003EFigures of Motion\u003C\/em\u003E). Many of Lye\u0027s kinetic works can be found at the Govett-Brewster Gallery in New Plymouth, Taranaki including a 45-metre high \u003Cem\u003EWind Wand\u003C\/em\u003E near the sea. The \u003Cem\u003EWater Whirler\u003C\/em\u003E, designed by Lye but never realised in his lifetime, was installed on Wellington\u0027s waterfront in 2006. \u003Ca href=\u0022http:\/\/www.wellingtonwaterfront.co.nz\/experience\/art_and_design\/\u0022\u003Ehttp:\/\/www.wellingtonwaterfront.co.nz\/experience\/art_and_design\/\u003C\/a\u003E\u003C\/p\u003E\n\u003Cp\u003ELye was a maverick, never fitting any of the usual art historical labels. Although he did not a household name, his work was familiar to many film-makers and kinetic sculptors - he was something of an \u0027artist\u0027s artist\u0027, and his innovations have had an international influence. He is also remembered for his colourful personality, amazing clothes, and highly unorthodox lecturing style (he taught at New York University for three years).\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003EPersonal life\u003C\/strong\u003E Lye was married twice. His first wife was Jane (Florence Winifred) Thompson with whom he had two children: \u003Cem\u003E Bix Lye, also a sculptor, who lives and works in Williamsburg, New York \u003C\/em\u003E Yancy Ning Lou Lye (born 20 May \u003Ca href=\u0022940,\u0022\u003EChiswick, London)\u003C\/a\u003E\u003C\/p\u003E\n\u003Cp\u003EHe married his second wife, Annette \u0027Ann\u0027 Zeiss (born 1910, Minnesota), in Las Vegas in May 1948 on the same day he obtained a divorce from Jane. Ann was formerly married to Tommy Hindle, a British journalist.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003EFurther information\u003C\/strong\u003E\u00a0There are two documentaries about Lye: \u0027\u0027Flip and Two Twisters\u0027\u0027 and \u0027\u0027Doodlin\u0027\u0027\u0027, and a DVD of Lye\u0027s talks illustrated with slides: \u0027\u0027Len Lye Talks about Art\u0027\u0027.\u003C\/p\u003E\n\u003C\/div\u003E\u003C\/div\u003E\u003C\/div\u003E\u003Csection class=\u0022field field-name-field-nationality field-type-country field-label-inline clearfix view-mode-full view-mode-full\u0022\u003E\u003Ch2 class=\u0022field-label\u0022\u003ENationality:\u0026nbsp;\u003C\/h2\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003ENew Zealand\u003C\/div\u003E\u003C\/div\u003E\u003C\/section\u003E    \u003C\/div\u003E\n\n          \u003Cnav class=\u0022clearfix\u0022\u003E\u003C\/nav\u003E\n    \n    \n  \u003C\/div\u003E\n\u003C\/article\u003E\n    \u003C\/div\u003E\n\n    \n    \n  \u003C\/div\u003E\n\u003C\/div\u003E\n    \u003C\/div\u003E\n  \u003C\/div\u003E\n\u003C\/div\u003E\n\u003C\/div\u003E\u003Cscript src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/advagg_js\/js__UWPcb-dFIKNMRaI8Dtldc9EKRFR1asHAO8yXpi-RA0Q__FKksr7BiLv_-PIwOA62XSsYR9-TCy3H9SwBNTijA80A__BYJ_raMsbqFpF1SIDoJghyU-ouurldty3Wm9_bVOXTQ.js\u0022\u003E\u003C\/script\u003E\n\u003C\/body\u003E\u003C\/html\u003E"}