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Brion Gysin

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During his lifetime Brion Gysin (1916–1986) inspired an array of artists, writers, poets and musicians, notably the Beat Generation. Since his death Gysin's own work has only increased in popularity, yet his radical approach to art defies categorization. Dream Machine is the first detailed study of Gysin's œuvre in both art-historical and contemporary contexts. A devotee of invention, Gysin created paintings, drawings, photo-collages, installations, poetry and sound experiments. He produced the cut-up collage ...
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2010-06-22 Hardcover First Edition New 1858945216 Ships Within 24 Hours. Tracking Number available for all USA orders. Excellent Customer Service. Upto 15 Days 100% Money Back ... Gurantee. Try Our Fast! ! ! ! Shipping With Tracking Number. Read more Show Less

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United Kingdom 2010 Hard Cover New/New 8vo 1858945216 multiple BRAND NEW copies still in publishers wrap, Brion Gysin, Dream Machine Laura Hoptman with John Geiger, James ... Grauerholz and G?rard Audinet "During his lifetime Brion Gysin (1916?1986) inspired an array of artists, writers, poets and musicians, notably the Beat Generation. Since his death Gysin's own work has only increased in popularity, yet his radical approach to art defies categorization. Dream Machine is the first detailed study of Gysin's ?uvre in both art-historical and contemporary contexts. A devotee of invention, Gysin created paintings, drawings, photo-collages, installations, poetry and sound experiments. He produced the cut-up collage novel The Third Mind (1965) with William Burroughs, and with Ian Sommerville developed the Dreamachine (1961), a kinetic sculpture designed to induce visions by playing flickering light on the closed eyes of the viewer. This exciting new book, featuring incisive texts, a photo essay, and appreciations Read more Show Less

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Overview


During his lifetime Brion Gysin (1916–1986) inspired an array of artists, writers, poets and musicians, notably the Beat Generation. Since his death Gysin's own work has only increased in popularity, yet his radical approach to art defies categorization. Dream Machine is the first detailed study of Gysin's œuvre in both art-historical and contemporary contexts. A devotee of invention, Gysin created paintings, drawings, photo-collages, installations, poetry and sound experiments. He produced the cut-up collage novel The Third Mind (1965) with William Burroughs, and with Ian Sommerville developed the Dreamachine (1961), a kinetic sculpture designed to induce visions by playing flickering light on the closed eyes of the viewer. This exciting new book, featuring incisive texts, a photo essay, and appreciations by contemporary artists, captures the remarkable daring of an artistic visionary.
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Editorial Reviews

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A must have for scholars and fans, literati and arterati, the converted and the curious alike
The Huffington Post
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Product Details

  • ISBN-13: 9781858945217
  • Publisher: Merrell Publishers, LTD
  • Publication date: 6/22/2010
  • Pages: 192
  • Product dimensions: 7.70 (w) x 9.30 (h) x 0.90 (d)

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Sort by: Showing 1 Customer Reviews
  • Posted June 12, 2010

    reevaluation of post-War artistic phenom

    The Dreammachine is the name Gysin gave to a stroboscopic device made by the mathematician and psychological experimenter Ian Sommerville to which the artist Gysin added calligraphic painting in an attempt to replicate a spontaneous hallucination he had while riding on a bus along an avenue of trees near an artist's colony in the south of France. Gysin (d. 1986) was most active in France. He left most of his art works to the city of Paris. He nonetheless became associated with American avant-garde and Beat writers and artists such as William Burroughs, Allen Ginsberg, and Jack Kerouac when he spent time with them during their stay in Paris in the 1950s at a residence which became known as the "Beat Hotel." Gysin was a kindred spirit with anyone seeking to break out of the mold of conformity by exploring novel artistic, psychic, and spiritual paths.

    Rather than developing an identity around any particular art form, Gysin engaged continually with many. "Working simultaneously with painting, drawing, collage, sound, literature, performance, and something more ineffable that might be called 'perception,' he created an oeuvre that was radically interdisciplinary, virally influential, and wildly uneven." For this he has been called an "idea machine". Rather than refining a particular style within an art form or pursuing a particular artistic path for what spiritual, emotive, etc., answers or comforts it could yield, Dysin instead practiced nearly every emerging art form and departure from the tried of the post-War era with an energy, imagination, and often an abandon which brought out their possibilities and potentials. Dysin was as influential as much as he was skilled in the various new forms of art and new paths for artists.

    Laura Hoptman, curator of the Gysin exhibition at the New Museum and the books editor, sagely observes that it can be argued that by being largely ignored in the art community of his day and remaining "uncategorized," Gysin's unconventional, seminal work was preserved in such a way to allow it now to be seen "as a holistic series of fascinating experiments that expand beyond the typical visual-arts discourse." Gysin was a precursor of postmodernism. Ones attuned to today's culture and art take in Gysin's energetic, usually colorful, and multifarious art works readily. His oeuvre is like a big collage.

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