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Frederick Kiesler: Endless
April 15 – May 3, 2008

Jason McCoy Gallery is pleased to present Frederick Kiesler: Endless. This exhibition coincides with the exhibition Frederick Kiesler: Co-Realities, which is hosted by the Drawing Center, New York (April 18 – July 24, 2008).

The focus of Frederick Kiesler: Endless is on Kiesler’s vision of a biomorphic, freely flowing, continuous, human-centered living space, which he called the Endless House. To Kiesler, this Endless House was to synthesize painting, sculpture, architecture, and the environment to establish a space, which was without a sense of boundaries. Kiesler began to explore this new kind of an "endless" architectural space as early as 1922 and continued to develop this theme in his architectural designs and sculptures until the end of his life. Frederick Kiesler: Endless will feature several sculptural works by Kiesler, including three Endless House Models.

Describing his idea of the house, Kiesler stated that it was to be "endless like the human body—there is no beginning and no end." In his review of Frederick Kiesler’s retrospective at the Whitney Museum in 1989, Michael Kimmelman explained: “[Kiesler] spent some four decades evolving a scheme for the home that was never to be realized but that synthesized Mr. Kiesler's ideas about the connections between art and design. A cocoonlike structure to be made from reinforced concrete and wire mesh, ''The Endless House'' was to have included bathing pools, floors of sand and grass and terra-cotta tile.” In fact, the Endless House was to be more than a living space - it was a space for meditation and a place, where one was able to find one’s truest self.

Frederick Kiesler was born in 1890 in Tschernovitz, formerly part of the Austro-Hungarian Empire, which today belongs to the Ukraine. He studied at the Technische Hochschule (1908-09) and at the Akademie der Bildenden Künste (1910-1912) in Vienna. In the following years, he was heavily engaged in theatre, in both Vienna and Berlin, designing stages and
choreographing performances. In 1920 he started a brief collaboration with architect Adolf Loos. He became a member of the De Stijl group in 1923 and in the following year, he arranged the world premiere of the 16-minute film Ballet mécanique directed by Dudley Murphy and Fernand Léger, with Man Ray, in Vienna. In 1925 he realized 'Raumstadt', an exhibition design closely related to De Stijl, in the Austrian pavilion at the Exhibition of Decorative Arts and in 1927 the design was published in De Stijl under the title “Organic Building: The City in Space”. Kiesler moved to New York City in 1926, where he lived until his death. He collaborated here with the Surrealists, including Marcel Duchamp. His writing was extensive and embraced two lengthy manifestos, "Pseudo-Functionalism in Modern Architecture" (Partisan Review, July 1949) and ‘’Contemporary Art Applied to the Store and Its Display’’ (New York: Brentano, 1930). One of his best-known projects was his design for Peggy Guggenheim’s Art of This Century gallery (1942). Today his works on paper and documents are in the Austrian Frederick and Lillian Kiesler Foundation in Vienna. In 1989 the Whitney Museum of American Art, New York, hosted a Kiesler retrospective and in 1996, the Centre Georges Pompidou exhibited “Frederick Kiesler: artiste-architecte."

The Estate of Frederick Kiesler is represented by Jason McCoy Inc.

Stephanie B. Simmons
Press Relations
Email: stephanie@jasonmccoyinc.com
Phone: 212-319-1996

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