They recall the early modernist visages of Alexej von Jawlensky, but on a contemporary scale and with references to our political present: a raised (white) fist here, collages of African sculpture elsewhere.
They recall early Modernist images of life as a tragicomic circus of love and loss, stylish dignity struggling with inelegant humiliation.
Not exact matches
The monochromatic sculptural pieces, like Giallo Cromo (1961),
recall, instead, the
modernist work of Louise Nevelson, the American sculptor who, in fact, made her European debut right at that time, in the
early 60s.
Although each awning could cover up to nine square meters at full extension, they are displayed with the material completely rolled up and compactly displayed as vertical, columnar shapes,
recalling Wermers
earlier Kusine series and referencing the
Modernist legacy of Brancusi's Endless Column.