About Kenneth Kemble

Kenneth Kemble is born in Buenos Aires, on 10  July, 1923.

His childhood passes in Martínez, in the same house which he will live his whole life.

He studies painting during 1950 with his first teacher, Raúl Russo. In 1951 he attends the André Lothe Academy in Paris, and visits museums in France, Italy, Spain, England, Belgium and Holland.

In the mid 50’s returns to Argentina, with his first wife, Terry Hanrahan.  But his stay is brief, because in 1955 travels to the USA and stays there for three months,  during that year his daughter Katherine is born.

In 1956, divorced and back in Buenos Aires, he meets Silvia Torras, a young Fine Arts student, together they build a profound personal and artistic relationship.

From 1956 he begins to develop a series of collages and oil paintings- made with rags, cloths, cardboard, blankets, which are a central part of the artistic languaje renawal in Argentina.  Between 1958 and 1960 produces his series of  “Suburban Landscapes”, assamblages made with wood, tree bark, veneers extracted by Kemble from slums in Córdoba. In 1958 he exhibits for the first time at the Pizarro Gallery, in the Arte Nuevo showing. In 1961 he carries out the Destructive Art exhibition at the Lirolay Gallery, an experience that opened the path for Conceptualism in Argentina, and the experiences that will be carried out at the Di Tella Institute and the CAYC – Center for Art and Experimentation – during the 1960s ‘and 70’.

He studies painting during 1950 with his first teacher, Raúl Russo. In 1951 he attends the André Lothe Academy in Paris, and visits museums in France, Italy, Spain, England, Belgium and Holland.

In the mid 50’s returns to Argentina, with his first wife, Terry Hanrahan.  But his stay is brief, because in 1955 travels to the USA and stays there for three months,  during that year his daughter Katherine is born.

In 1956, divorced and back in Buenos Aires, he meets Silvia Torras, a young Fine Arts student, together they build a profound personal and artistic relationship.

From 1956 he begins to develop a series of collages and oil paintings- made with rags, cloths, cardboard, blankets, which are a central part of the artistic languaje renawal in Argentina.  Between 1958 and 1960 produces his series of  “Suburban Landscapes”, assamblages made with wood, tree bark, veneers extracted by Kemble from slums in Córdoba. In 1958 he exhibits for the first time at the Pizarro Gallery, in the Arte Nuevo showing. In 1961 he carries out the Destructive Art exhibition at the Lirolay Gallery, an experience that opened the path for Conceptualism in Argentina, and the experiences that will be carried out at the Di Tella Institute and the CAYC – Center for Art and Experimentation – during the 1960s ‘and 70’.

First retrospective exhibition

In 1963, the Buenos Aires Museum of Modern Art honors Kemble with his first retrospective exhibition and during the same year he exhibits individually at the Museum of Modern Art in Miami.

During that year, he breaks up with Silvia Torras and meets Julie Capp, with whom he marries in his third nuptials. Kemble will move with her to Boston, USA, where he will live until 1965.

Between 1960 and 1972 he works as art critic for the Buenos Aires Herald newspaper, between 1968 and 1972 is the Director of the Lujan Museum, and in 1962 he starts teaching at the  Ernesto de la Cárcova Higher School of Fine Arts, a task he previously carried out in his workshop and that will continue all his life. During 1968 he meets Berta Haendel, his fourth wife and mother of Julieta, his second daughter, born in 1971.

In 1972 wins the first prize for painting in the National Salon of Plastic Arts Manuel Belgrano. The decade of 1970 will be fruitful for his artistic and critic output: his writings ““The Painting does not move, does not make noise and is not a means of communication, luckily” -1971 -, “Cultural Autocolonization I and II ”And“ In defense of the Academy ”-1976 are published in various media.

The 80s & 90s

Through the 80s he exhibits on his own at the galleries Alberto Elía-1980, Ruth Benzacar-1985,87, 89 and at the Center of Art and Communication- CAYC, 1988. In 1983 is awarded as best teacher by the Argentine Association of Art Critics, and later in 1985 as best artist of the year, prize given by the same insitution.

In 1987, art critic Rafael Squirru publishes the book “Kenneth Kemble, critical and biographical essay.”

In the 1990 decade, Kemble exhibits his work at the Gallery Rubbers-1990, the Ibero-American Cooperation Institute -ICI, 1994-, Nexus Gallery -1998.In 1994 he recieves the Grand Award of Honor of the Salon of Plastic Arts. Between 1995 and 1998 two big retrospective exhibitions are held, the first one at the National  Exhibition Galleries and the latter at Recoleta Cultural Center,  called The Great Breakthrough, Works (1956-1963), under the curator Marcelo Pacheco.

Kemble passes away on April 30, 1998. Leaving behind a myriad of works, poems and writings. His ashes lie on La Falda, Córdoba, his shelter, where he used to do what he loved the most: eating, painting, reading and above all things, listening to music.

First retrospective exhibition

In 1963, the Buenos Aires Museum of Modern Art honors Kemble with his first retrospective exhibition and during the same year he exhibits individually at the Museum of Modern Art in Miami.

During that year, he breaks up with Silvia Torras and meets Julie Capp, with whom he marries in his third nuptials. Kemble will move with her to Boston, USA, where he will live until 1965.

Between 1960 and 1972 he works as art critic for the Buenos Aires Herald newspaper, between 1968 and 1972 is the Director of the Lujan Museum, and in 1962 he starts teaching at the  Ernesto de la Cárcova Higher School of Fine Arts, a task he previously carried out in his workshop and that will continue all his life. During 1968 he meets Berta Haendel, his fourth wife and mother of Julieta, his second daughter, born in 1971.

In 1972 wins the first prize for painting in the National Salon of Plastic Arts Manuel Belgrano. The decade of 1970 will be fruitful for his artistic and critic output: his writings ““The Painting does not move, does not make noise and is not a means of communication, luckily” -1971 -, “Cultural Autocolonization I and II ”And“ In defense of the Academy ”-1976 are published in various media.

The 80s & 90s

Through the 80s he exhibits on his own at the galleries Alberto Elía-1980, Ruth Benzacar-1985,87, 89 and at the Center of Art and Communication- CAYC, 1988. In 1983 is awarded as best teacher by the Argentine Association of Art Critics, and later in 1985 as best artist of the year, prize given by the same insitution.

In 1987, art critic Rafael Squirru publishes the book “Kenneth Kemble, critical and biographical essay.”

In the 1990 decade, Kemble exhibits his work at the Gallery Rubbers-1990, the Ibero-American Cooperation Institute -ICI, 1994-, Nexus Gallery -1998.In 1994 he recieves the Grand Award of Honor of the Salon of Plastic Arts. Between 1995 and 1998 two big retrospective exhibitions are held, the first one at the National  Exhibition Galleries and the latter at Recoleta Cultural Center,  called The Great Breakthrough, Works (1956-1963), under the curator Marcelo Pacheco.

Kemble passes away on April 30, 1998. Leaving behind a myriad of works, poems and writings. His ashes lie on La Falda, Córdoba, his shelter, where he used to do what he loved the most: eating, painting, reading and above all things, listening to music.