
	Öyvind Fahlström The Complete Graphics and Multiples The graphics and multiples of Öyvind Fahlström were produced during the 1960s and 1970s in the United States. Against the backdrop of civil rights campaigns, the women's movement and anti-war demonstrations, artists in New York rebelled against established traditions in art and politics. In response to the consumer culture of America, they expanded the boundaries of art to include mass-produced multiple images of celebrity icons like Marilyn Monroe and giant sculpted hamburgers. Though directly influenced by Pop Art, the work of Öyvind Fahlström reflects a broader international and political framework than the work of his Pop Art contemporaries. Born in Brazil in 1928, Fahlström spoke English in school, Portuguese in daily life, and was influenced by the culture of his Scandinavian parents. This multiculturalism would define his life and art. In 1939, Fahlström relocated to Sweden, and applied for citizenship in 1947. He studied at Stockholm University and earned a degree in archaeology. He traveled throughout Europe, but finally settled in New York in 1961. Fahlström moved into Robert Rauchenberg's former studio and developed close friendships with Rauchenberg, Jasper Johns and Robert Morris. Pop artists Claes Oldenberg, Jim Dine, Roy Lichtenstein and Andy Warhol recognized the importance of Fahlström's work and collected his art, although it was quite different from their own. Fahlström experimented with poetry, film, painting, and board games with magnetic pieces. He turned specifically to graphic techniques such as silk-screening, lithography, etching and even mimeographs because these processes are ideal for mass-producing images. Creating multiples of each work and making them available at low cost was key to Fahlström's work, as he wanted his art to be accessible to a larger audience. For Fahlström, the spectator played the role of performer and was essential to his creative process. Fahlström's intricate cartoon-like images offer poignant commentary on international events and politics. He created maps based on international politics rather than geography, and his game boards experiment with ideas of strategy and play. Fahlström believed in the power of contemporary art to stimulate social change, and wanted his work to make people "both understand and be outraged." © 2000 Marquette University

Öyvind Fahlström

The Complete Graphics and Multiples

The graphics and multiples of Öyvind Fahlström were produced during the 1960s and 1970s in the United States. Against the backdrop of civil rights campaigns, the women's movement and anti-war demonstrations, artists in New York rebelled against established traditions in art and politics. In response to the consumer culture of America, they expanded the boundaries of art to include mass-produced multiple images of celebrity icons like Marilyn Monroe and giant sculpted hamburgers. Though directly influenced by Pop Art, the work of Öyvind Fahlström reflects a broader international and political framework than the work of his Pop Art contemporaries.

Born in Brazil in 1928, Fahlström spoke English in school, Portuguese in daily life, and was influenced by the culture of his Scandinavian parents. This multiculturalism would define his life and art. In 1939, Fahlström relocated to Sweden, and applied for citizenship in 1947. He studied at Stockholm University and earned a degree in archaeology. He traveled throughout Europe, but finally settled in New York in 1961. Fahlström moved into Robert Rauchenberg's former studio and developed close friendships with Rauchenberg, Jasper Johns and Robert Morris. Pop artists Claes Oldenberg, Jim Dine, Roy Lichtenstein and Andy Warhol recognized the importance of Fahlström's work and collected his art, although it was quite different from their own.

Fahlström experimented with poetry, film, painting, and board games with magnetic pieces. He turned specifically to graphic techniques such as silk-screening, lithography, etching and even mimeographs because these processes are ideal for mass-producing images. Creating multiples of each work and making them available at low cost was key to Fahlström's work, as he wanted his art to be accessible to a larger audience. For Fahlström, the spectator played the role of performer and was essential to his creative process.

Fahlström's intricate cartoon-like images offer poignant commentary on international events and politics. He created maps based on international politics rather than geography, and his game boards experiment with ideas of strategy and play. Fahlström believed in the power of contemporary art to stimulate social change, and wanted his work to make people "both understand and be outraged."