This landmark exhibition is Italian artist Giosetta Fioroni’s first solo show in North America. The show will feature over 80 works in drawing, painting, film, theater design, and illustration, dating from the 1950s to the mid-1970s, decades during which the artist formulated a unique response to a developing commercial culture. Although many of the works are executed on canvas, drawing remains at the forefront of Fioroni’s oeuvre, and her investment in hand-rendering serves to distinguish her practice from that of her American Pop Art peers. This exhibition will also be on view from October 25, 2013–January 19, 2014 at Galleria nazionale d'arte moderna e contemporanea in Rome.

Curated by Claire Gilman, Curator


Giosetta Fioroni, Liberty, 1965. Pencil, white and aluminum enamel on canvas, 57 1/2 x 44 13/16 inches. Collection Jacorossi, Rome. Courtesy of the artist.

Giosetta Fioroni: L’Argento is made possible in part by the National Endowment for the Arts. Major support is provided by Simone and Mirella Haggiag, Pierre and Tana Matisse Foundation, Sarah Peter, and Lia Rumma.

PRESS
The New York Times review
"After looking at Ms. Fioroni’s silvery paintings of women’s faces, often culled from the cinema or magazines, one might add to her list Italian filmmakers like Michelangelo Antonioni and Bernardo Bertolucci." - Karen Rosenberg, The New York Times

Drawing Out: Student Artwork from the Drawing Connections Program features student artwork from the Drawing Connections program, which pairs practicing artists with teachers in Lower Manhattan public schools to develop projects that relate classroom curricula to exhibitions at The Drawing Center.

Curated by Aimee Good, Director of Education and Community Programs.  

The Drawing Center presents Sean Scully: Change and Horizontals. This intensely focused survey is comprised of acrylic, ink, graphite, and masking-tape drawings from 1974–75—presented together for the first time in over 30 years—as well as two large-scale paintings from the same period and the artist’s personal notebooks. Culled from two distinct series, the Change and Horizontals drawings—executed in London and New York respectively—highlight the importance of color and form within Scully’s abstractions. Color is always rooted in a particular place, and form manifests the self. Impressions of each city are fundamental to these drawings, as location plays a key role in the artist’s life and oeuvre; as the artist stated in 2006, “People tend to think of abstraction as abstract. But nothing is abstract: it’s a self-portrait. A portrait of one’s condition.” Scully’s move from London to New York City in 1975 marked a stylistic breakthrough to a period during which he became more engaged with the tones and textures of the metropolis that surrounded him.

Sean Scully: Change and Horizontals is co-curated by Joanna Kleinberg Romanow and Brett Littman of The Drawing Center. The exhibition began its transcontinental tour at Timothy Taylor Gallery, London, where it was on view from January 13–February 11, 2012, before traveling to Middlesbrough Institute of Modern Art, UK, from March 2–July 13, 2012 and Walter Storms Galerie, Munich, from January 10-February 23, 2013.

The exhibition will be presented at The Drawing Center, New York, from September 27–November 3, 2013.


Above: Sean Scully, Change #7 (detail), 1975. Acrylic and tape on paper, 22 1/2 x 30 2/3 inches. Courtesy Neo Neo Inc, New York. Photo © Sean Scully.