![]() ![]() One need only look at the recent opening installation of the expanded Museum of Modern Art in New York to see how this imbalance is slowly being corrected. ![]() Unfortunately, understanding the work made in Europe in the decades that preceded them has remained skewed. From that point forward, the American contemporary art community embraced the work of younger artists on both sides of the Atlantic (and later, in South America and Asia). For most American viewers, the exhibition was a revelation, and for the first time we began to understand the depth of art making of several generations of European artists, especially from Germany and Italy. This view was vividly shattered for curators and collectors in 1982 with a single exhibition, Documenta 7, which displayed contemporary American and European work side-by-side. Until quite recently, it was falsely assumed in this country that since World War II all great art came from the United States. Consequently, the Rachofsky Collection has become particularly strong in postwar Italian art, which we have chosen to focus on exclusively for the current installation. This is especially the case with American Minimalism and Italian Arte Povera of the 1960s and 70s, which form the nerve center of the collection. One of the ambitions of the Rachofsky Collection is to examine how certain tendencies in art of the last few decades have developed simultaneously in the United States and Europe. ![]()
0 Comments
Leave a Reply. |