![]() ![]() ![]() "Paper Trails: Selected Works from the Collection, 1934–2001," July 19–November 27, 2011, no catalogue. "Expresionismo Abstracto: Obra Sobre Papel, Colección The Metropolitan Museum of Art, Nueva York," May 9–July 2, 2000, colorpl. Kline and company cultivated their substance through awkward gestures, finding a countercultural challenge in making art from crude, jarring marks. "Abstract Expressionism: Works on Paper, Selections from The Metropolitan Museum of Art," March 11–June 4, 1995, no. and the recent black paintings of Lower Manhattan at night by Alex Katz. "Franz Kline: Art and the Structure of Identity," December 11–February 5, 1995, no. avenues looming up in pictures by Franz Kline and Willem de Kooning. "Franz Kline: Art and the Structure of Identity," September 27–November 21, 1994, no. Museo Nacional Centro de Arte Reina Sofía. "Franz Kline: Art and the Structure of Identity," July 8–September 11, 1994, no. Much of the exhibition consisted of black and white paintings not sold at. "Franz Kline: Art and the Structure of Identity," March 18–June 5, 1994, no. recalled one night when he and Franz Kline brought Pollock home drunk and. ![]() "Abstract Expressionism, Works on Paper: Selections from The Metropolitan Museum of Art," May 4–September 12, 1993, extended to November 7, 1993, no. "Abstract Expressionism, Works on Paper: Selections from The Metropolitan Museum of Art," January 26–April 4, 1993, no. Compared to the rest of the early review literature, Clement Greenbergs first encounter with Klines black and white painting is rather typical. Kline was also known for avoiding giving meaning to his paintings, unlike his colleagues, who would give mystical descriptions to their works. He acquired and incorporated the informative aggression of the space and signs coming from the new world but mediated it through the luminous transparency of the lagoon.Atlanta. Employing black brushstrokes on white canvases, he created calculated compositions, which were distinct from other artists' works of his generation. He saw himself as a ferryman going to and from one side to the other of the waters that bathe history and current affairs. Vedova made the subjective experience of his making art co-exist with the linguistic body of a transoceanic vision. The large canvases are a carmen to the dimension of the transition between polarities that simultaneously attract and repel, ensuring a circulation between alternative energies. It is a projection of free and fluid coordinates and structures, constituting a vision in which the city of history, Venice, grafts with the city of the future, New York. The connection between these two attitudes is made clear by the speed with which the artist’s action is represented in the canvas. The paintings reflect an affinity between the language of the past, the connection with the dynamic and energetic intensity of futurism, and the contemporary affinity with the gestures of sign of an Eastern origin, which established itself through action painting and abstract expressionism. Thus, having acquired a fundamental role in the history of modernity, with De America in the 1970s, Vedova seems to pay tribute to his American experiences and North American art, seeking a connection with the history of Italian art, of which he was a protagonist. to give subject (or) name to, and at present I find it impossible to make a direct, verbal statement about the paintings in black and white Franz Kline. ![]() During the 1960s, he was present in North America with the imposing Percorso/Plurimo/Luce installation in the Italian pavilion of Expo ‘67 in Montreal, talking to new generations at campuses like Berkeley, and swapping notes and opinions in New York with poets and intellectuals from Allen Ginsberg to Dore Ashton. Guggenheim Foundation Award for Italy, with the consequent acquisition of a work by the Museum of Modern Art. After the various one-man shows at the Catherine Viviano Gallery in New York, in 1956 he was awarded the Solomon R. Through the Venice Biennali, which attracted collectors and directors of overseas museums, his contribution was acknowledged and led to his being awarded the Grand Prix for Painting in 1960 by an international commission chaired by the historian Herbert Read. From the 1940s, Vedova was in constant contact with the language of the artists promoted by Peggy Guggenheim in Venice, from Jackson Pollock to Franz Kline, and often accompanied their research. They are all works in black and white and of a large format, which after decades of dialogue with figures on the American scene, travel and collaborations with universities from Washington to Philadelphia, reflect the expressive link between the artist and American art. De America cycle by Emilio Vedova, presented in the Magazzino del Sale – where it will be put in motion by the robotic machine designed by Renzo Piano -– consists of 14 paintings on canvas and was produced by the artist between 19. ![]()
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