Alex Alvis Art

Carla Accardi Day

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Carla Accardi rose to fame as founding member of the 1947 Italian avant-garde movement Forma 1, a group of artists based in Rome who, in the face of Fascism, embraced the principals of Futurism and Marxism. As one of the key figures of abstract art in Italy during the time, Accardi developed an iconic visual lexicon of calligraphic marks that, when combined with her minimalist color palette and dynamic compositions, showcased the endless possibilities of abstraction. In the 1960s, Accardi began painting on Sicofoil, a transparent plastic sheeting used in commercial packaging, instead of canvas. The dynamism in Accardi’s work, as well as her emphasis on non-art materials and simple processes and structures, became a precursor to Arte Povera.

The painters of the "Form 1": Pietro Consagra, Mino Guerrini, Ugo Attardi, Carla Accardi, Achille Perilli, Antonio Sanfilippo and Piero Dorazio

Sometimes the quietest and most unassuming exhibitions turn out to be the most fascinating, if not the strangest.

Tucked away on the third floor of Sperone Westwater’s Bowery building, there’s a show titled Post-War Italian Art: Accardi, Dorazio, Fontana, Schifano. That’s it. No jazzy tagline like “Treasures of Proto-Arte Povera” or “Secrets of Euro-Neo-Pop.” Just Post-War Italian Art: Accardi, Dorazio, Fontana, Schifano.

There isn’t even a press release accompanying the listing on the gallery’s website, which is just as well. It’s a plainspoken exhibition whose strengths are apparent only after a period of unhurried observation, however outmoded that may sound. . . . .

Another artist who deals with the art object — how it is made and perceived — is Carla Accardi, who was born in Sicily in 1924 and now lives in Rome. She has several works here, one more radical than the next.

There is a small, patterned green-on-red abstraction in casein on canvas near the gallery entrance called, appropriately, “Verderosso n. 6” (“Green-red no. 6,” 1964). It’s an intriguing painting, but it doesn’t prepare you for “Bianco oro” (“White Gold”), which she made in 1966, hanging on the other side of the room.

Carla Accardi, “Bianco oro” (1966). Enamel on sicofoil mounted on canvas, 25 3/16 x 35 7/16 inches. (Courtesy Sperone Westwater, New York)

The first thing you notice about “Bianco oro” are the cursive strokes of gold-colored varnish rippling outward from the center of the painting; the second thing you notice is that the brushstrokes are casting shadows on the white canvas, which is wrapped in transparent plastic — a material called sicofoil — upon which Accardi has applied the varnish.

Compellingly, what should by all rights be dismissed as cheap effect instead comes off as weirdly, poetically beautiful. The hovering gold brushstrokes, which grace the plastic with a minimalist purity, assert the painting’s thing-ness while their shadows dissolve our sense of it as a solid object. Yes, it’s a trick, but resistance to its artless radiance is futile.

By the following year the canvas support is gone. In “Segni Verdi” (1967), which can translate as “Green Signs,” “Green Signals,” “Green Symbols” or simply “Green Marks,” the painting’s stretcher bars are visible between the strokes of green varnish, which are brushed on in a diagonal, wavelike pattern.

Carla Accardi, “Segni verdi” (1967). Enamel on sicofoil, 63 x 43 5/16 inches(Courtesy Sperone Westwater, New York

The result isn’t quite as engaging as “Bianco oro,” perhaps because it is more literal in its approach to unmasking the art object, but its audacious simplicity can be enjoyed as a lyrical answer to Robert Rauschenberg’s Combines, which approach a similarly self-conscious aesthetic with kitchen-sink aggressiveness. (from Alien Skins: Experimental Italian Painting of the 1960's - 2013, Thomas Micchelli).

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Labels: Alex Alvis Sculpture, Carla Accardi, Forma 1, Hyperallergic