Light-filled labyrinth of a museum Nov 20, 2009
The museum, devoted to architecture and art alike, has been busy collecting work by Anish Kapoor, Gerhard Richter, Francesco Clemente and many others (plus the archives of the architects Carlo Scarpa, Aldo Rossi and Pier Luigi Nervi). However, this light-filled labyrinth is dedicated to the future - there is the rest of the 21st century to go before the museum can be called complete. (Sydney Morning Herald -- Entertainment)
* A stairway to the future Nov 18, 2009
The truth is that although the museum, devoted to both architecture and art, has been busy collecting work by Anish Kapoor, Gerhard Richter, Francesco Clemente and many others (along with the archives of architects Carlo Scarpa, Aldo Rossi and Pier Luigi Nervi), this light-filled labyrinth is dedicated to the future. There is no great hurry to fill it, after all: there is the rest of the 21st century to go before the museum can be called complete. (Taipei Times, Taiwan -- World)
Milwaukee Art Museum Organizes First U.S. Museum Exhibition of Warhol's Late Works Sep 23, 2009
Collaborations with Jean-Michel Basquiat, Francesco Clemente, and Keith Haring were central to his pursuit of new ideas, and stimulated the artist to return to painting by hand. The exhibition includes nearly 50 works lent by private collectors and institutions, several of which are monumental in size. (Yahoo! Wire -- Entertainment News)
Blocks of Color: American Woodcuts from the 1890s to the Present Sep 7, 2009
Blocks of Color continues up to the present day with prints by 43 other artists, including Polly Apfelbaum, Richard Bosman, Francesco Clemente, Richard Diebenkorn, Jim Dine, Helen Frankenthaler, Donald Judd, Karen Kunc, Sherrie Levine, Michael Mazur, and others. Drawn primarily from the Zimmerlis extensive print collection, this exhibition is also complemented by several key loans from regional collections. (AbsoluteArts.com)
Cottage is beautiful, practical Jul 10, 2009
An Amish bench from the L.A. store Nickey Kehoe serves as an easel for framed art by Keith Haring, Francesco Clemente and Chait's grandmother. In such a small space, Chait derives maximum impact with lighting, including an old railroad lantern and industrial glass fixtures dangling from plain cords. (AZCentral -- Home)
David Denby: “Up.” Jun 6, 2009
A series of drawings by Francesco Clemente. Avedon Fashion, at ICP, and more events involving New Yorker contributors. (New Yorker)
Joan Acocella: Natalia Osipova breaks out. Jun 1, 2009
Russian Soul: Critic's Notebook: The New Yorker (New Yorker)
Anthony Lane: James Cameron’s “Aliens,” at BAM. May 25, 2009
A series of drawings by Francesco Clemente. 00004000. (New Yorker)
READ THE ARTICLE (SUBCRIPTION REQUIRED) May 21, 2009
A series of drawings by Francesco Clemente. A discussion about the Metro 00004000 politan Museum of Art exhibition. (New Yorker)
Female artists, in their voices Apr 4, 2009
Clemente, 31, the daughter of celebrated Italian painter Francesco Clemente, studied filmmaking at the Pasadena Art Center. Reached by phone, Clemente said: "I'd always loved writing stories and at some point I wanted to start telling them more visually. When I was 12, I asked my parents for a video camera, and that's how it started. ... My first feature-length film just happens to be a documentary.". (San Francisco Chronicle -- Entertainment)
HUGO BOSS PRIZE 2008: EMILY JACIR Feb 12, 2009
In addition to THE HUGO BOSS PRIZE, the company has helped to make possible the retrospectives of Matthew Barney, Georg Baselitz, Ross Bleckner, Francesco Clemente, Frank Gehry, Ellsworth Kelly, Robert Rauschenberg, and James Rosenquist; the presentation of Art in America: Now in Shanghai; the Ed Ruscha (2005) and Felix Gonzalez-Torres (2007) exhibitions in the U.S. Pavilion of the Venice Biennale; and the exhibition theanyspacewhatever (2008), featuring the works of several past finalists,... (AbsoluteArts.com)
Peter Schjeldahl: A Marlene Dumas retrospective. Feb 8, 2009
Her initial mature paintings portraying nerve-racked women or vaguely sinister children somewhat recall the suavely decadent symbolism of Francesco Clemente, only with considerably less polish. A self-conscious doubt attends her most dashing and spontaneous brushwork, which can seem determined to deny its own wonderful qualities. (New Yorker)
