William Copley

from Wikipedia, the free encyclopedia
Painting by William N. Copley (photo by Paolo Monti , 1960)

William "Bill" Nelson Copley (born January 24, 1919 in New York City , New York , USA , † May 7, 1996 in Key West , Florida ) was an American painter , art collector and patron. He is considered an important mediator between the Surrealists and the Pop Art movement and was one of the most idiosyncratic personalities on the art scene. William N. Copley initially worked as a gallery owner and in this capacity built up an extensive art collection before becoming friends with surrealists such as Marcel Duchamp ,René Magritte and Max Ernst became artists themselves. William Copley's painterly and graphic work deals with the tradition of Dada , Surrealism and the emerging Pop Art in an ironic and humorous way.

Life

Childhood, youth and education

Ira C. Copley

William N. Copley was found as a foundling on the doorstep of New York Foundling Hospital at the end of an influenza epidemic that his parents are believed to have fallen victim to. In 1921 William was adopted by Ira C. and Edith Copley. Ira Copley was a utility tycoon and newspaper publisher in Aurora; from 1911 to 1923 he was a member of the US House of Representatives. Ala William was ten years old, Ira Copley and his family moved to Coronado Island near San Diego . William was a sickly child and often absent from school. To make up for the absenteeism, he read a lot. From 1932 to 1936 Copley trained at the Philipps Academy in Andover, Massachusetts; 1926-1928 he studied at the Yale University before joining in 1940 the US Army and 1942-1946 for military service was stationed as a soldier in the infantry in North Africa, Sicily and Italy.

In California (1945–1951)

After the war ended, Copley returned to California. First he started working as a reporter for his father's newspapers. He soon married Marjorie Doris Wead, the daughter of a test pilot in the US Navy; In 1946 son William Bryant ("Billy") was born. He then made the acquaintance of his sister-in-law's husband, John Ployardt, an artist who worked as a draftsman and storyteller for Disney Studios . Ployardt brought Copley close to painting and especially surrealism.

“Surrealism,” wrote Copley, “made everything understandable: my noble family, the war, and why I went to the Yale Prom without my shoes on. It looked like something I could manage. "

The two visited exhibitions in Mexico and New York, met with artists and began to immerse themselves in the surrealist world of ideas. They came up with the plan to open a gallery and sought contact with Walter Conrad Arensberg , an industrialist and collector who was also a close friend and patron of Marcel Duchamp . At the same time, Copley began to teach himself about painting; his early works include 2 bis Ferou, Woman in Doorway . From then on he signed his works with CPLY in order not to be confused with the American portrait painter John Singleton Copley (1738–1815). In addition, he was also active as a writer; however, few texts were published in his family's newspapers.

Alexander Iolas

On Man Ray's mediation , Ployardt and Copley traveled to New York in 1947 to meet Marcel Duchamp, who put them in touch. In addition to artists, they also met the gallery owners Julien Levy and Alexander Iolas (1907–1987), who had dedicated themselves to surrealism. Iolas became Copley's most important gallery owner from the mid-1950s.

In the same year, his adoptive father, Ira Clifton Copley, died at the age of 83; the business was then taken over by his older brother James Strohn Copley ("Jim", 1916–1973), while William distanced himself more and more from his conservative family, with whose worldviews he - especially after his war experiences - could no longer identify. Copley became a supporter of left-wing liberal politics, attended political meetings and distributed leaflets for the Progressive Party around Henry A. Wallace .

By the time Copley and Ployardt were planning their surrealist gallery, there was an association of various philanthropists, including the Arensbergs and actor Vincent Price , who opened a nonprofit gallery on Rodeo Drive . The Modern Institute of Art opened in February 1948, "with the aim of becoming the West Coast equivalent of the New York Museum of Modern Art ." The first exhibition included works by Marc Chagall , Joan Miró , Henri Matisse and Marcel Duchamp - all of them AvantgardegGarde - Artists of a stature seldom seen in Southern California, but which Copley and Ployardt no longer saw in keeping with the times in the late 1940s.

In Beverly Hills, California, Copley and Ployardt opened the Copley Galleries on North Canon Drive in September 1948 with an exhibition of more than 30 paintings by René Magritte , all of which came from Alexander Iola's collection. In the following months they exhibited works by painters such as Yves Tanguy , Joseph Cornell , Man Ray, Roberto Matta and Max Ernst and offered them for sale. Arensberg contributed important works from his collection as loans for some exhibitions. At the time, however, there was little interest in surrealist art in Los Angeles and little opportunity to exhibit or view it. Although local collectors such as Walter and Louise Arensberg amassed important collections of contemporary art, the few museums in Los Angeles were reluctant to show it. The Los Angeles County Museum , in Copley's words, was "a mausoleum with a structure [...] that housed some misunderstandings from William Randolph Hearst and some stuffed animals." Four miles to the east, the young, privately owned Pasadena Art Institute had the 1953 legacy of the spectacular Collection of Galka E. Scheyer received and renamed the Pasadena Art Museum a year later. The surrealistic pictures therefore hardly found buyers, which is why Copley gave up the gallery in the spring of 1949. From then on painting was the focus of his work; paintings such as Portrait of the Artist as a Young Ex-Partiate and Bienvenue / Île de France were created . 1951 took place in Los Angeles Copley's first solo exhibition in the Royer's Book Shop.

In France (1951–1962)

Man Ray, Juliet Ray,
William Copley
and Marcel Duchamp
on board the SS De Grasse on March 12, 1951 before leaving New York for Paris. The Getty Research Institute, Los Angeles from the Gloria de Herrera Archive (1951)
Link to the picture
(Please note copyrights )

In the spring of 1951, Copley went on a boat trip to Paris with Man Ray, his wife Juliet and the young art curator Gloria de Herrera (1929–1985). He had left his wife Doris and their two children Billy and Claire (born 1948) behind; the marriage was soon divorced. In Paris, Copley concentrated on painting and made several trips, including a. he visited Pablo Picasso in Vallauris. In 1953 he married Noma Rathner in Paris and bought a property in Longpont-sur-Orge in the Île-de-France region. Solo exhibitions followed at Galerie du Dragon and Galerie Furstenberg in Paris and at Alexander Iolas in New York. In 1954, he and his second wife founded the William and Noma Copley Foundation , which was later called the Cassandra Foundation . Around 1955 he sold his inherited family shares to his adoptive brother Jim and sister Helen. In 1956 he took part in the XXième Salon de Mai at the Musée d'art moderne de la Ville de Paris ; In 1961, Copley's work was shown at the London Institute of Contemporary Arts . Man Ray gave the opening speech on his friend.

In New York (1963–1980)

After a brief stay in Los Angeles, William and Noma Copley returned to New York in 1963. In the city's art scene he maintained contacts with Christo , Roy Lichtenstein , Walter de Maria , Ray Johnson , Larry Bell , Ed Ruscha and later also Andy Warhol . He had an apartment on 81st Street; on Lower Broadway he set up a studio where he received friends for parties. In 1967, meanwhile divorced from his second wife Noma, he founded the short-lived art publisher The Letter Edged in Black Press with the artist Dimitri Petrow , in which he published portfolios with multiples . In 1968/69 a total of 14 portfolios with works by Duchamp, Lichtenstein, Man Ray, Christo, Richard Hamilton , Claes Oldenburg , Yoko Ono , John Cage , Kasper König , Mel Ramos , Dieter Roth , Bernar Venet and Bruce Nauman were published .

In 1968, Copley's works were shown in the Gaierie Rudolf Springer in a first exhibition in Germany ; At Documenta 5 (1972, in the Individual Mythologies department with Imaginary Flags of Ten Countries ) and Documenta 7 (1982) in Kassel, Copley's works, almost all of which were signed with the characteristic abbreviation cpLy , were on view as well as in numerous exhibitions in Germany, Austria, France, the Netherlands and the USA. He married his third wife, Stella Yang, in September 1968 and bought a house in Roxbury, Connecticut, but lived mostly in New York City and spent most of his time painting. In 1970/71 he worked on the group of works called Nouns (objects) in a comic- like manner reminiscent of Pop Art. In 1977 he wrote the play Even If You're Unhappy Is No Reason Why You Shouldn't Behave Yourself with Viola Stephan , which premiered in New York. During this time he also wrote the report CPLY: Portrait of the Artist as a Young Dealer , in which he reported on his experiences as a gallery owner; the article first appeared in 1977 in the catalog for the Paris-New York exhibition , which was shown at the Center national d'art et de culture Georges Pompidou .

Andy Warhol (left) and Tennessee Williams (right) in conversation, in the background: Paul Morrissey (1967). World Journal Tribune photo by James Kavallines.

In 1979, after his divorce from his third wife, Copley had his collection of surrealist works auctioned off almost entirely at Sotheby's in New York, after consuming much of his inheritance. At the time, it was the highest ever result for a collection, at $ 6 million. After that, he focused on collecting contemporary art. In the 1980s he dealt with performances and worked with new materials such as mirrors, glass and fetish objects . In 1986 the installation The Tomb of the Unknown Whore was exhibited at the New Museum of Contemporary Art for a month and a half .

Late years (1980-1996)

1980/81 Copley was married to Majorie Annapav; Andy Warhol was present at the wedding reception and soon afterwards screen-printed a portrait of Copley's wife. In 1980 Copley moved entirely to his home in Roxbury and set up a studio there. Because of increasing health problems, he began to spend the winters in Key West , Florida, where he maintained contact with Tennessee Williams . From 1992 onwards, Copley lived permanently at his home on Sugarloaf Key , Key West, and married his sixth wife, Cynthia Gooch. He's spent the last few years in relative seclusion on Sugarloaf Key, painting in his living room and cruising the Keys in a boat. One of his last pictures, Just Say Yes, was taken around 1995 . Copley died on May 7, 1996 at the age of 77.

Marriages

Copley was married six times, from September 1945 to Marjorie Doris Wead (1920–1986), from 1953 with Noma Rathner (1916–2006), 1967 to 1979 with Stella Yang (also Chuang Hua, 1931–2000), 1980/81 with Majorie Annapav. 1986 to 1988 he was married to Jackie Klein Prescott. He had three children from two marriages.

plant

Pip-up art in everyday American culture

Work phases and their reception

Copley's subversively banal works are now considered to be the link between Pop Art and Surrealism. His work includes highly abstracted figurines from American everyday myths, with his western saloons, cowboys and pin-up girls , his erotic and pornographic fantasies as well as set pieces from everyday life and popular culture such as weapons, cars and fetishes, which are depicted without comment.

"According to CPLY, the world is an ancient, biting and candy-colored place," wrote Tony Kamps of Copley's work in the 1950s. "The paintings, drawings, and other works of William Nelson Copley are rendered in a variety of inventive, self-taught styles and are full of outrageous imagery: circus poster caricatures, slapstick humor, and an abundance of female nudes that [would] put Rubens to shame." is one of the few painters who consciously used a naive poster-like technique, wrote a contemporary critic about his Paris exhibition ( Peintures Recentes, Galerie Dragon) in 1956. On Place de l'Opéra (1956) it says:

“Here he gives free rein to the dreams and frustrations of a driver. He depicted the car in a frame of intense colors and baroque shapes that give his canvases an almost Byzantine complexity. With kaleidoscopic passion, Mr. Copley did the same with the car as Picasso did with the figure, depicting it from all angles at the same time, as well as inside and below. "

In Copley's painting, humor is used to compensate for the “serious” themes of love, crime, punishment and death, says Kay Heymer. “It is a glimmer of hope in a world full of catastrophes both large and small.” On Copley's painting Outer Focus No. 7 (1956) wrote the author that it was “timeless, transparent and unforgettable. His surreal, good-humored mentality enabled him to ignore the real consequences of death and other unfortunate events as he sifted out their entertainment value. "

One could say that Copley's work from the Paris period is a single pictorial dedication to the moving forces of eroticism , wrote Carl Haenlein. The artist tells stories of the "plaisirs" of lonely gentlemen in the streets of Paris or the talents of the beautiful blonde on the next street corner, all of which are told in an ironic tone full of skeptical and laconic sentences. If you let the clay soak in, you will find that these images are much more subtle and complex than it appears at first glance.

Robert W. Service 1921

Around 1967, Copley painted a series of pictures based on poems by Robert W. Service, “I remember [Robert Service and the Yukon business] as a child ... A friend of mine read it to me as a child. And these pictures stuck in my mind. It was Cliff Westermann who once said to me, “You should illustrate Robert W. Service.” And that kind of cooked thing popped into my mind for about a year. And I'm sure Cliff Westermann sees Service the same way I do: a man with a remarkable sense of images and a very limited intellect. It's a perfect combination, especially for me, because I'm not really interested in intellectualism when it comes to writing or painting . "

Copley then created the series of Nouns (objects) in different thematic fields , with which Copley's interest in American colloquial language and everyday culture reached a spectacular crescendo, wrote Tony Kamps. “These bold, colorful canvases show everyday objects - a bicycle, a boxing glove, a tuba - against the background of geometric patterns that suggest striped wallpaper or parquet floors. As a result of a self-imposed moratorium on the painting of the figure, these pictures are as anthropomorphic as all of Copley's figurative works. ”Copley himself said:

“My life is a search for the ridiculous image. The visual pun is the golden nugget we're looking for. Joseph Cornell's compressed paperweight; like Man Rays Pain peint (1958) - all of his objects were visual puns. You are not asked, you are absolutely forced to make associations. Visual word games expand the mind and imagination. It's about raising awareness. The viewer immediately has associations with experiences he has had and which are just as ridiculous. At Magritte, it's all about that. It's a kind of humor that you can't miss. "

This was followed by the X-Rated series ( not suitable for minors ), created between 1972 and 1974, which were first exhibited in 1974 in the New York Cultural Center. The latter were “loosely reproduced pictures of couples and groups of three, whose intertwined bodies and limbs relieved of tension are intertwined in bold arrangements of interlocked, almost abstract forms. The sluggish physicality of the sitter, their Buddha-like smile and persistent individuality are unabashedly erotic. The colors - pulsating pastels, lush off-colors, greens, browns and yellows - are sensational, ”wrote Anne Doran. “The uniqueness of Copley's own incarnation of the role of the bad boy is best shown in the series of works he exhibited under the title X-Rated . With titles from Hollywood films like National Velvet , Around the World in Eighty Days , Last Tango in Paris and Happy Hooker , Copley defused the shock of the pornographic image with comical ease and a pop culture twist, ”wrote Alison Gingeras.

Francis Picabia

Copley began working on Variations on a Theme by Francis Picabia (1978), a series of ten paintings first exhibited at the Alexander Iolas Gallery in 1979 and then at the David Stuart Gallery in Los Angeles, in the late 1970s . These works included his Variations on Picabia's La nuit espagnole (1922), which was previously included in Copley's art collection. Paintings he created in response to Picabia's seminal painting included Nuit Puerto Ricain (1978), 31 Octobre (1978), Calcuuta by Day (1978), The Happy Hour (1978), and Bird's Bastard (1978). Misspelled words appeared in many of the paintings and they were strewn with holes around the painted targets, keeping them true to the original.

In the early 1980s, Copley began the series of paintings Invisible Women , “in which the female body is not explicitly depicted, but rather implied by lingerie, swimwear, shoes and mouths. These mixed media works included collaged laces, women's shoes, garter belts, buckles, and underwear. The fetishistic series also included assemblage , a technique Copley often used to dimension the flat surface of his paintings. "

In the 1980s, Copley worked again with cut-outs and silhouettes: a collage of images that made it possible to add up a series of found fragments using different materials. “It was clearly a process of de-subjectivization,” wrote Germano Celant, “as if the artist wanted to break away from exclusively internal and personal motivations and show a common and comprehensive way of thinking that was not only individual but also collective and social. Instead of a surface that is receptive to individual impulses, the whole thing has been transformed into an imaginary ensemble that is often chaotic and confused, changeable and discontinuous and through which the artist has tried to define general stereotypes that belong to everyone. "

"Sincerity, authenticity, or insanity are never enough to create good works of art," wrote art critic Michael Bise. “For an artist who has mastered his medium, rejecting mastery and doing some raw work is a strong political choice. The problem with real artists is that regardless of their intentions, the material and ideas they use are always changing. The transformation of materials enables color, charcoal or an objet trouvé not only to represent an idea, but to embody it. Copley does not knowingly undermine the painterly form. In each picture, I imagined a dozen different formal choices I could have made to turn my pictures into truly impressive paintings without losing their anarchic charm. "

At the end of his life, the artist weakened the anarchic role he had previously played for his own pleasure, Germano Celant continued, “and turned his art into a score that reinforced its political resonance to the cultural and artistic armament of society to deal one last blow. The circle was closed: pleasure and sensuality found a constituent and integrating function in society. They have been validated as metaphors for dynamism as opposed to a petrified dimension. The images were no longer personal and private vehicles, but became part of the living spirit of the world, even if they remained the seeds of a rebellion that we now consider a renewal. "

The Frieder Burda Collection contains an extensive complex of works by the artist. In 2012, Copley's pictures from the collection, which were created between 1996 and 1998, were shown in the Frieder Burda Museum in Baden-Baden .

Works (selection)

  • Reclining Nude, 1953. Oil on canvas. William N. Copley Estate and Kasmin Gallery.
  • Place de l'Opéra. 1956. Oil on canvas. Tate Gallery , London.
  • My Mother Land Can Fuck Your Father Land. 1961 (flag pictures). Mixed media on canvas.
  • German flag. 1961. Oil on canvas. William N. Copley Estate and Kasmin Gallery, New York City
  • Think. 1961. Oil on canvas. Museum of Contemporary Art , Chicago.
  • The Common Market. 1961. Oil on canvas. Museum of Modern Art , New York City
  • Mae West. 1965. Acrylic on canvas. Bischoff Collection.
  • Then I Ducked My Head and the Lights Went Out, and Two Guns Blazed in the Dark. 1966. Oil on canvas. Klewan Collection.
  • From Fifty Alcoholic Throats Resounded Fifty Roars (from "Ballad of the Ice-Worm Cocktail"). 1967. Acrylic on canvas. William N. Copley Estate and Kasmin Gallery, New York
  • Revolver and Target. 1970. Acrylic on canvas. WilliamN. Copley Estate.
  • Electric chair. 1970. Acrylic on canvas. Bischoff Collection.
  • Story. 1972. Charcoal on paper.
  • Rolltop desk. 1972. Acrylic on canvas. William N. Copley Estate and Kasmin Gallery, New York.
  • Battle of the Sexes No. 2. 1974. Acrylic on cotton. William N. Copley Esate and Kasmin Gallery, New York.
  • Nuit Puerto Ricain. 1978. Acrylic and oil on canvas. Museum Frieder Burda, Baden-Baden
  • Invisible Woman No. 2. 1983. Acrylic, lace and collage on canvas. William N. Copley Estate and Kasmin Gallery, New York City.
  • Trust lust. 1988. Acrylic linen. William N. Copley Estate and Kasmin Gallery, New York
  • Play It Again Sam. 1994. Acrylic on canvas. Stedelijk Museum, Amsterdam
  • Untitled (Gun). 1991. Felt pen and charcoal on paper.

The William and Noma Copley Foundation

The purpose of this foundation was to support visual artists and musicians with small grants. The foundation was based in Chicago; The foundation's advisory board included celebrities such as Jean Arp , Alfred Barr , Roberto Matta , Max Ernst , Julien Levy , William Lieberman , Man Ray , Roland Penrose and Herbert Read , and the board of directors alongside Copley Marcel Duchamp and the Chicago lawyer and collector Barnet Hodes and his wife Eleanor and Darius Milhaud . 1960–66 the Copley Foundation published a series of monographs on the individual annual scholarship holders. The pop art artist Richard Hamilton , who himself received a Foundation scholarship at the end of the 1950s, was hired as editor . Monographs were created on Hans Bellmer , Richard Lindner , Bernard Pfriem , René Magritte , Thomas Albert Stills , Eduardo Paolozzi , James Metcalf , Serge Charchoune , Jacques Herhold and Dieter Roth .

The William Copley Collection

William Copley's collection included works by Kurt Schwitters , Victor Brauner , Dorothea Tanning , Frida Kahlo , Francis Picabia, Jean Arp , Balthus , Joan Miró , René Magritte , Man Ray , Alberto Giacometti , Giorgio de Chirico , Theo van Doesburg , Joseph Cornell , Marcel Duchamp , Arshile Gorky , Roberto Matta , Hans Bellmer , Max Ernst , Roy Lichtenstein , Wifredo Lam , Alexander Calder , Claes Oldenburg , Christo and Jeanne-Claude , Jean Tinguely , Ed Ruscha , Arman , Richard Hamilton and Andy Warhol . At the auction at Sotheby's in New York on November 5 and 6, 1979, Copley had a total of 132 works auctioned. In a second auction in 1993, works on paper by Eduardo Paolozzi , Christo, Edward Kienholz , Richard Artschwager , Walter de Maria , Peter Saul , Robert Whitman, Claes Oldenburg, Mel Ramos and Andy Warhol came up for auction.

In Copley's collection there were major works of Surrealism and Pop Art such as von

  • Man Ray Catherine barometer (1920/21)
  • Man Ray A l'heure de l'observatoire: Les amoureux (1932–34)
  • Man Ray Portrait imaginaire de DAF de Sade (1938)
  • Marcel Duchamp Pharmacie , Ready-made (1914)
  • Max Ernst Totem and Taboo (1941/42)
  • Max Ernst Le Surréalisme et la peinture (1942)
  • Max Ernst Le Déjeuner sur l'Herbre (1944), now in the Cleveland Musieum of Art
  • Giorgio de Chirico: Study for Le portrait d'Apollinaire (after 1916)
  • Francis Picabia: Portrait d'Apollinaire (1918)
  • Joseph Cornell: Soap Bubble Set (1948)
  • René Magritte: La Chambre d'Écoute (1952)
  • Claes Oldenburg: Soft Version of Maquette for a Monument donated to Chicago by Pablo Picasso (1969)

Public collections

Exhibitions

William Copley's works have been exhibited in solo exhibitions in numerous major art institutions, including the

  • 1966 Stedelijk Museum Amsterdam
  • 1980 Kunsthalle Bern.
  • 1981 Badischer Kunstverein Karlsruhe
  • New Museum for Contemporary Art New York (1986)
  • 1997: True Confessions . Ulmer Museum, April 27 to June 15, 1997.
  • 2012/13 Museum Frieder Burda, Baden-Baden, February 18 to June 10, 2012; Max Ernst Museum Brühl of the LVR, June 24 to November 4, 2012; Ahlers Pro Arte / Kestner Pro Arte Foundation, Hanover, November 16, 2012 to April 1, 2013.
  • 2014: Happy Birthday! 20 years of the Goetz Collection. (Group exhibition), Goetz Collection , Munich, catalog.

literature

  • William Nelson Copley: Homage to Robert W. Service Cply . New York: Alexander Iolas Gallery, 1967.
  • William Copley: Notes on a Project for a Dictionary of Ridiculous Images. Drawings 3. Cologne / New York: Verlag Gebr König, 1972.
  • William N. Copley: Portrait of the Artist as a Young Trader. From the American. by Kay Heymer. Bern, Berlin: Gachnang and Springer, 1990. ISBN 978-3-906127-23-1
  • William Copley: Bilder / Paintings 1951–1994. Heed - Greed - Trust - Lust . With contributions by Johannes Gachnang, Carl Haenlein, Alan Jones, Roland Penrose. Edited by Carl Haenlein. Kestner Society Hanover (catalog) 1995.
  • William Copley: The Strumpet Muse. Images from Robert W. Service. Hanover: Kestner-Gesellschaft, 1995 or Cologne: König, 1995. ISBN 3-88375-214-2 / 3-88375-214-2
  • William Copley: True confessions , exhibition catalog. Ulm: Ulmer Museum, 1997. ISBN 3-928738-10-0 / 3-928738-10-0
  • William N. Copley: between us . Galerie Klaus Gerrit Friese, Stuttgart, May 15 to July 17, 2009. Edited by Klaus Gerrit Friese. Texts by Stephan Berg and William N. Copley. [Trans. Kay Heymer]. Ostfildern: Hatje Cantz, 2009. ISBN 978-3-7757-2406-7
  • William Nelson Copley. Hrag. from the Frieder Burda and Götz Adrian Foundation. Heidelberg: Kehrer 2012. ISBN 978-3-86828-271-9
  • William Copley: CPLY. Finally We Laugh . Cologne / Düsseldorf: Walther König / Linn Lühn, 2013
  • William N. Copley: Selected Writings . Anthony Atlas 2020

Web links

Individual evidence

  1. ^ William Copley. ed. from the Frieder Burda and Götz Adriani Foundation. Sweeper 2012
  2. ↑ Bill Copley, Lühn Linn (Ed.): CPLY. 1919-1996 . Cologne, 2000
  3. ^ A b c Jonathan Griffin: The Surrealist Bungalow: William N. Copley and the Copley Galleries (1948-49). East of Borneo, January 13, 2014, accessed June 26, 2020 .
  4. ^ Illiam Nelson Copley, American (1919–1996) (English).
  5. ↑ At the height of Pop Art and Color Field painting, Copley's concern was "to free the artist from the limitations of format and to allow the expanded use of materials in every (art) category". It was particularly important to him not to impose any restrictions on the artists involved and he guaranteed individual freedom in the design and choice of material. Every artist, regardless of name or level of fame, received $ 100 for their work. About 2000 sets were produced; Copley gave the remaining copies to a New York museum in 1981. See Documenta 6 / Cat.3, p. 335; Söhm archive, p. 319; Moeglin-Dellcroix, p. 116; Paper chants p. 107; de Jong: Weiner - The Multiples.
  6. ↑ William N. Copley's “Imaginary Flags of Ten Countries” (1972) at artnet.de
  7. ^ Andy Warhol, Marjorie Copley, 1980 in Andy Warhol women
  8. ^ Marjorie Doris Wead at ancestors.org
  9. ↑ Stella Yang (Chuang Hua) at Goodreads.com
  10. ^ William N. Copley: between us . Galerie Klaus Gerrit Friese, Stuttgart, May 15 to July 17, 2009. Edited by Klaus Gerrit Friese. Texts by Stephan Berg and William N. Copley. (Translated by Kay Heymer). Hatje Cantz, Ostfildern 2009, ISBN 978-3-7757-2406-7 .
  11. ^ T. Kamps, "William N. Copley: The World According to CPLY ', in William N. Copley, exhibition catalog, Milan: Fondazione Prada, 2016, p. 26.
  12. ^ Y. Hagen, Column Art and Artists , in New York Herald Tribune, 1956, printed in William N. Copley, (exhibition catalog), Milan: Fondazione Prada, 2016, p. 89.
  13. ↑ Kay Heymer, William N. Copley and Cply. In Search of the Painter in the Man , in: William N. Copley. True Confessions , exhibition catalog, Ulm: Ulmer Museum, 1997, p. 33.
  14. ^ C. Haenlein, "Copley's Franco-American Connection," in William N. Copley. Attention, greed, trust, lust, exhibition catalog, Hanover: Kestner-Gesellschaft, 1999, p. 200
  15. ↑ This is probably the book The Spell of the Yukon and Other Verses , Barse & Hopkins, 1907.
  16. ↑ William N. Copley, Interview with William N. Copley, conducted by Paul Cummings on January 30, 1968 for the Archives of American Art, Smithsonian Institution, Washington, DC , reprinted in William N. Copley, exh.cat., Milan: Fondazione Prada, 2016, p. 144.
  17. ↑ Tony Kamps, William N. Copley: The World According to CPLY , in William N. Copley, exh.cat., Milan: Fondazione Prada, 2016, p. 32
  18. ^ WN Copley, A Conversation with William Copley by Alan Jones , in: CPLY. William N. Copley , Exhibition catalog, New York: David Nolan Gallery, 1991, p. 9.
  19. ^ Anne Doran: William N. Copley and Andreas Slominski - X-RATED. ME-Berlin, January 30, 2011, accessed on June 25, 2020 (English).
  20. ↑ Alison M. Gingeras, 'CPLY: The Story of a "Bad Boy"', in William N. Copley, exh.cat., Milan: Fondazione Prada, 2016, p. 166
  21. ↑ William N. Copley: 'About the Hare and the Tortoise But Mostly About the Hare': William N. Copley on Francis Picabia, in About 1978. Art News, January 26, 2017, accessed June 23, 2020 .
  22. ↑ a b c d e f g h i j k l m William N. Copley: Selected Works at Max Hetzler
  23. ↑ G. Celant, 'Poetry + Painting', in William N. Copley, exh.cat., Milan: Fondazione Prada, 2016, p. 22nd
  24. ↑ Michael Bise: William N. Copley: The World According to CPLY. Glasstire, March 14, 2016, accessed June 25, 2020 .
  25. ↑ G. Celant, "Poetry + Painting", in William N. Copley, exh.cat., Milan: Fondazione Prada, 2016, p. 22.
  26. ^ The Common Market. 1961 in the Museum of Modern Art
  27. ^ Story in 1972 in the Museum of Modern Art
  28. ↑ Untitled (Gun) (1991). in the Museum of Modern Art
  29. ^ Copley, Frieder Burda Foundation. P. 177 ff.
  30. ^ Copley, William N .: Copley. Published by the Frieder Burda and Götz Adriani Foundation. Exhibition Frieder Burda, Baden-Baden 2012 a. in Brühl u. Hanover. 2012. SS 21 f.
  31. ^ Philippe Nel: The Avant-garde and American Postmodernity. Jackson: University Press of Mississippi, 2002
  32. ^ Copley, William N .: Copley. Stedelijk Museum Amsterdam, 14 October - 20 November 1966. Amsterdam: Stedelijk Museum., 1966
  33. ^ Copley, William N .: William N. Copley (exhibition Badischer Kunstverein Karlsruhe, 18 March 1981 - 10 May 1981) . Bern / Paris / Eindhoven. Kunsthalle / Center Georges Pompidou / Stedelijk Van Abbemuseum, 1980
  34. ^ Copley, William N .: True Confessions. Ulmer Museum, April 27 to June 15, 1997. Ostfildern. Publisher Gerd Hatje., 1997
  35. ^ Copley, William N .: Published by the Frieder Burda Foundation: Heidelberg, Berlin / Baden-Baden. Kehrer Verlag / Museum Frieder Burda., 2012
  36. ^ Page on the exhibition , accessed on May 23, 2014.
personal data
SURNAME Copley, William
ALTERNATIVE NAMES Copley, William Nelson (full name); Copley, Bill (nickname)
BRIEF DESCRIPTION American painter
DATE OF BIRTH January 24, 1919
PLACE OF BIRTH New York City , New York , USA
DATE OF DEATH May 7, 1996
Place of death Key West , Florida , USA