Saint Phalle mastered gloss techniques for preserving their painted
services--in black and white and sizzling color--outdoors. Nothing
about her work jibed with anything then current in art. Today, as
categorical distinctions among art mediums and styles deliquesce,
it comes off as heroic.
*New Yorker*
Saint Phalle’s work ha[s] always existed in a near past, very now,
and future tense.
*Observer*
In her sculptures, drawings, paintings, performances, films,
writings, playgrounds, habitable structures, and public persona,
Saint Phalle presented an oracular—if sometimes fragmented,
contradictory, and perplexing—vision of utopia, inventing the
iconography, erecting the monuments, and dreaming the fantastic
architecture of a new society.
*Artforum*
Her emphasis on working in and for the public sphere, not only to
make her work accessible to a broad range of audiences—particularly
demographics that are typically ignored in art...this is inspiring
today for artists who are seeking new ways of working, but also in
how she was able to make an impact.
*Galerie*
In Niki de Saint Phalle’s vibrant, multidimensional universe, Saint
Phalle raises all the issues that adults learn to tolerate and
“live with,” but which children constantly question.
*Hyperallergic*
It’s one of the most surprising [books] of the season, with a heavy
emphasis on her later, monumental work in parks and other outdoor
spaces: walk-in structures, somewhere between architecture and
public art, where caves are covered in mirrors and monsters’ pink
tongues turn into slides.
*New York Times*
The avant-garde artist was one of the late twentieth century’s
great creative personalities, with traits that once shadowed and
now halo her importance.
*New Yorker*
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