{"id":24170,"date":"2023-10-03T17:38:45","date_gmt":"2023-10-03T16:38:45","guid":{"rendered":"https:\/\/mucciaccia.com\/?p=24170"},"modified":"2025-11-09T12:37:07","modified_gmt":"2025-11-09T11:37:07","slug":"maryam-eisler","status":"publish","type":"post","link":"https:\/\/mucciaccia.com\/en\/maryam-eisler\/","title":{"rendered":"Maryam Eisler"},"content":{"rendered":"

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OVERVIEW<\/a>\u00a0 \u00a0WORKS<\/a>\u00a0 \u00a0EXHIBITIONS<\/a>\u00a0 \u00a0PUBLICATIONS<\/a><\/p>\n

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Born in 1968. Lives and works in London, UK.<\/p>\n

Maryam Eisler is a London \u2013 based photographer and author.<\/p>\n

Maryam\u2019s photographic work is centred around the Sublime Feminine. She has had shows with Alon Zakaim, Tristan Hoare and Linley (London) as well as Harper’s (East Hampton, NY). She has additionally shown at Richard Taittinger Gallery (NY), Photo London, Eye of the Collector (London), Dallas Art Fair, Unseen Amsterdam, Space Gallery St Barth, Bermondsey Project Space (London), and Art Marbella.<\/p>\n

Maryam is Chief Contributing Editor to LUX magazine, a Cond\u00e9 Nast title; she has also contributed photographically and editorially to Vanity Fair (‘On Art’), Harpers Bazaar Art, Harpers Bazaar Interiors and Vogue Arabia.<\/p>\n

Maryam\u2019s books, ‘Confined Artists, Free Spirits: Portraits and Interviews from Lockdown 2020<\/em>‘ and\u00a0Voices: East London,<\/em>\u00a0for which she is both author and photographer were published in 2023 and 2018 respectively. She has edited several other Thames and Hudson titles to include\u00a0Sanctuary: Britain’s Artists and their Studios<\/em>,\u00a0Art Studio America: Contemporary Artist Spaces<\/em>\u00a0and\u00a0<\/em>London Burning: Portraits from a Creative City<\/em>\u00a0among many more.<\/p>\n

Maryam’s latest venture is in film \u2013 as creative producer to Oscar Winning director, Tim Yip’s latest venture, ‘Love Infinity’ launched on Mubi in March 2022.<\/p>\n

Maryam sits on the advisory board of Photo London; she is also a nominator for the Prix Pictet photography prize. Maryam was a judge for the Louis Roederer Photography Prize for Sustainability in 2021 and 2022.<\/p>\n

Maryam is a graduate of Wellesley College and Columbia University.<\/p>\n

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Selected Solo Exhibitions<\/h3>\n<\/div>\n<\/div>\n
\n
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2013
System, Kravets Wehby Gallery, New York, NY<\/p>\n

2008
Democracity, Tomio Koyama Gallery, Tokyo, Japan<\/p>\n

2007
Ether Studies, Galerie Jean-Luc & Takako Richard, Paris, France<\/p>\n

2006
We, Greenberg Van Doren Gallery, New York, NY<\/p>\n

2004
Automatic City, Greenberg Van Doren Gallery, New York, NY<\/p>\n

2001
Convergence, Artemis Greenberg Van Doren Gallery, New York, NY<\/p>\n<\/div>\n<\/div>\n

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Selected Group Exhibitions<\/h3>\n<\/div>\n<\/div>\n
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2020
Aftermoderism Chapter 2, Benjamin Edwards and Tom Sanford, curated by Cesare Biasini Selvaggi. Mucciaccia Contemporary, Rome, Italy.<\/p>\n

2017
Hypnagogic (two-person show with Michael Bevilacqua), Neumann Wolfson Art, New York, NY<\/p>\n

Inaugural Group Show, Neumann Wolfson Art, New York, NY<\/p>\n

2016
AftermodernisM, Neumann Wolfson Art\/ Nicole Ripka Gallery, Watermill, NY<\/p>\n

Sensorium, The Kravets Wehby Gallery, New York, NY<\/p>\n

2013
System, Kravets Wehby Gallery, New York, NY (solo)<\/p>\n

2012
Disorder, The Kravets Wehby Gallery, New York, NY<\/p>\n

2010
World und System, St\u00e4dtische Galerie Dresden, Dresden, Germany<\/p>\n

Skeptical Landscapes, Herter Art Gallery, University of Massachusetts Amherst, Amherst, MA (catalogue)<\/p>\n

Currents, Nassau County Museum of Art, Roslyn Harbor, NY<\/p>\n

2009
Futurescape, Contemporary Art Galleries, University of Connecticut, Storrs, CT (solo)<\/p>\n

Summer Exhibition, Marlborough Chelsea, New York, NY<\/p>\n

Idylls, The World Bank, in collaboration with Washington Project for the Arts, Washington, DC (illustrated brochure)<\/p>\n

2008\u20132009
Excerpt: Selections from the Collection of Jeanne Greenberg Rohatyn, the Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY (catalogue)<\/p>\n

Worlds Away: New Suburban Landscapes, Walker Art Center, Minneapolis, MN; traveled to Heinz Architectural Center, Carnegie Museum of Art, Pittsburgh, PA<\/p>\n

2008
To Infinity and Beyond: Mathematics in Contemporary Art, The Heckscher Museum of Art, Huntington, NY<\/p>\n

Democracity, Tomio Koyama Gallery, Tokyo, Japan (solo)<\/p>\n

The Triumph of Democracy: Inside the Studio: Benjamin Edwards, The Print Center, Philadelphia (solo)<\/p>\n

2007
Ether Studies, Galerie Jean-Luc & Takako Richard, Paris, France (solo)<\/p>\n

The Incomplete, Chelsea Art Museum, New York, NY<\/p>\n

The Incomplete Incomplete, Kravets\/Wehby Gallery, New York, NY<\/p>\n

Microwave Five, Jos\u00e9e Bienvenu Gallery, New York, NY<\/p>\n

2006
Cul-de-Sac: Art from a Suburban Nation, Martin Gallery, Radford University, Radford, VA<\/p>\n

Public Image: Painting in the City, Tilburg, Netherlands<\/p>\n

We, Greenberg Van Doren Gallery, NY (solo)<\/p>\n

New Prints 2006\/Spring: Selected by Richard Tuttle, New York, NY<\/p>\n

City-M, Kunsthaus Graz, Austria<\/p>\n

2005
New Art New York: Reflections on the Human Condition, Trierenberg Holding, Inc., Traun, Austria<\/p>\n

The ArtReview 25: An exhibition of Emerging US Artists, Phillips de Pury & Company East Gallery, New York<\/p>\n

The City: Contemporary Views of the Built Environment, Lehman College Art Gallery, The City University of New York, Bronx, NY<\/p>\n

First Skin, Gallery Gebr. Lehmann, Dresden, Germany<\/p>\n

2004
Black & White, Greenberg Van Doren Gallery, NY<\/p>\n

Surface Tension, Chelsea Art Museum, New York, NY<\/p>\n

Open Range, Artemis Greenberg Van Doren Gallery, New York, NY<\/p>\n

Future Noir, Gorney Bravin Lee Gallery, New York<\/p>\n

Automatic City, Greenberg Van Doren Gallery, New York, NY (solo)<\/p>\n

2003
Split, Sandra Gering Gallery, New York, NY<\/p>\n

MetaScape, The Cleveland Museum of Art, Cleveland, OH<\/p>\n

Painting Pictures: Painting and Media in the Digital Age, Kunstmuseum Wolfsburg, Wolfsburg, Germany<\/p>\n

2002
Post-Digital Painting, Cranbrook Art Museum, Bloomfield Hills, MI<\/p>\n

Snapshot, Elizabeth Leach Gallery, Portland, OR<\/p>\n

Painting as Paradox, Artists Space, New York<\/p>\n

Plotting, Carrie Secrist Gallery, Chicago, IL<\/p>\n

Panorama, curated by Carmen Zita \/ TRACE, Room, NY<\/p>\n

The Norman Dubrow Biennial, Kagan Martos Gallery, New York, NY<\/p>\n

On Perspective, Gallerie Faurschou, Copenhagen, Denmark<\/p>\n

Busan Bienale, Busan, Korea<\/p>\n

Invitational Exhibition of Painting and Sculpture, The American Academy of Arts and Letters, New York, NY<\/p>\n

2001
Convergence, Artemis Greenberg Van Doren Gallery, New York, NY (solo)<\/p>\n

Casino 2001, Stedelijk Museum Voor Actuel Kunst Gent (SMAK), Belgium<\/p>\n<\/div>\n<\/div>\n

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Collezioni pubbliche<\/h3>\n

Fidelity Investments, Boston and London, Londra
Arts Council Collection, Hayward Gallery, Londra
Goldman Sachs Collection, Londra
Kupferstichkabinett of the National Gallery of Berlin, Berlin
Royal Bank of Scotland Group Art Collection, Londra
San Diego Museum of Contemporary Art, San Diego, USA
The Government Art Collection, Londra<\/p>\n

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WORKS<\/h2>\n

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Maryam Eisler
<\/strong>Bodie House I<\/em>, 2019
Printed with archival pigment ink on Hahnemuhle\u00a0William Turner paper (Cotton Rag 310gsm)
61 3\/4 x 43 3\/4 in
157 x 111 cm<\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/mucciaccia.com\/wp-content\/uploads\/2024\/02\/O-is-for-Origin-91x128cm.jpg” alt=”Maryam Eisler \u2018O\u2019 for Origin, 2019 Printed with archival pigment ink on Hahnemuhle William Turner paper (Cotton Rag 310gsm) 50 3\/8 x 35 7\/8 in 128 x 91 cm” title_text=”‘O’ is for Origin 91x128cm” url=”https:\/\/mucciaccia.com\/wp-content\/uploads\/2024\/02\/O-is-for-Origin-91x128cm.jpg” use_overlay=”on” overlay_icon_color=”RGBA(255,255,255,0)” hover_overlay_color=”rgba(0,0,0,0.19)” module_class=”photoworks” _builder_version=”4.24.0″ _module_preset=”default” height=”300px” custom_margin=”0px||||false|false” custom_padding=”0px||||false|false” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.24.0″ _module_preset=”default” text_font_size=”12px” text_line_height=”1.3em” global_colors_info=”{}”]<\/p>\n

Maryam Eisler<\/strong>
\u2018O\u2019 for Origin<\/em>, 2019
Printed with archival pigment ink on Hahnemuhle William Turner paper (Cotton Rag 310gsm)
50 3\/8 x 35 7\/8 in
128 x 91 cm<\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/mucciaccia.com\/wp-content\/uploads\/2024\/02\/The-Divine-Feminine-91x128cm.jpg” alt=”The Divine Feminine 91x128cm” title_text=”The Divine Feminine 91x128cm” url=”https:\/\/mucciaccia.com\/wp-content\/uploads\/2024\/02\/The-Divine-Feminine-91x128cm.jpg” use_overlay=”on” overlay_icon_color=”RGBA(255,255,255,0)” hover_overlay_color=”rgba(0,0,0,0.19)” module_class=”photoworks” _builder_version=”4.24.0″ _module_preset=”default” height=”300px” custom_margin=”0px||||false|false” custom_padding=”0px||||false|false” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.24.0″ _module_preset=”default” text_font_size=”12px” text_line_height=”1.3em” global_colors_info=”{}”]<\/p>\n

Maryam Eisler<\/strong>
The Divine Feminine<\/em>, 2018
Printed with archival pigment ink on Hahnemuhle William Turner paper (Cotton Rag 310gsm)
50 3\/8 x 35 7\/8 in
128 x 91 cm<\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/mucciaccia.com\/wp-content\/uploads\/2024\/02\/Stamped-Memories-61x77cm.jpg” alt=”Stamped Memories 61x77cm” title_text=”Stamped Memories 61x77cm” url=”https:\/\/mucciaccia.com\/wp-content\/uploads\/2024\/02\/Stamped-Memories-61x77cm.jpg” use_overlay=”on” overlay_icon_color=”RGBA(255,255,255,0)” hover_overlay_color=”rgba(0,0,0,0.19)” module_class=”photoworks” _builder_version=”4.24.0″ _module_preset=”default” height=”300px” custom_margin=”0px||||false|false” custom_padding=”0px||||false|false” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.24.0″ _module_preset=”default” text_font_size=”12px” text_line_height=”1.3em” global_colors_info=”{}”]<\/p>\n

Maryam Eisler<\/strong>
Stamped Memories<\/em>, 2021
Printed with archival pigment ink on Hahnemuhle William Turner paper (Cotton Rag 310gsm)
30 1\/4 x 24 in
77 x 61 cm<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ disabled_on=”on|on|on” module_id=”exhibitions” _builder_version=”4.22.2″ _module_preset=”default” custom_margin=”0px||0px||false|false” custom_padding=”60px||0px||false|false” disabled=”on” locked=”off” global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text module_class=”hyperlink-color-image” _builder_version=”4.19.4″ _module_preset=”default” header_2_font_size=”18px” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” header_2_font_size_tablet=”18px” header_2_font_size_phone=”18px” header_2_font_size_last_edited=”on|desktop” global_colors_info=”{}”]<\/p>\n

MOSTRE<\/h2>\n

[\/et_pb_text][et_pb_divider color=”#c9c9c9″ _builder_version=”4.16″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ disabled_on=”on|on|on” _builder_version=”4.22.2″ _module_preset=”default” custom_margin=”0px||0px||false|false” custom_padding=”0px||0px||false|false” disabled=”on” locked=”off” global_colors_info=”{}”][et_pb_row column_structure=”1_3,1_3,1_3″ make_equal=”on” _builder_version=”4.19.4″ _module_preset=”default” width=”100%” custom_margin=”0px||||false|false” custom_padding=”0px||0px||false|false” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.19.4″ _module_preset=”default” custom_padding=”||80px||false|false” link_option_url=”https:\/\/mucciaccia.com\/art-wonders-of-the-xx-century\/” global_colors_info=”{}”][et_pb_image src=”https:\/\/mucciaccia.com\/wp-content\/uploads\/2018\/09\/Nicola-De-Maria-Regno-dei-fiori-1985-tecnica-mista-su-tela-100-x-80.jpg” alt=”Nicola De Maria, Regno dei fiori, 1985, tecnica mista su tela, 100 x 80″ title_text=”Nicola De Maria, Regno dei fiori, 1985, tecnica mista su tela, 100 x 80″ align=”center” _builder_version=”4.19.4″ _module_preset=”default” height=”200px” custom_margin=”0px||||false|false” custom_padding=”0px||||false|false” locked=”off” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” text_font=”|300|||||||” text_line_height=”2.4em” header_4_font=”|600|||||||” header_4_text_align=”center” header_4_text_color=”#777777″ header_4_font_size=”16px” header_6_font=”|300|||||||” header_6_font_size=”12px” header_6_letter_spacing=”4px” text_orientation=”center” custom_margin=”0px||0px||false|false” custom_padding=”0px||0px||false|false” locked=”off” global_colors_info=”{}”]<\/p>\n

ART WONDERS OF THE XX CENTURY<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” text_font=”|300|||||||” text_line_height=”2.4em” header_4_font=”|600|||||||” header_4_text_align=”center” header_4_text_color=”#777777″ header_4_font_size=”16px” header_6_font=”|300|||||||” header_6_font_size=”12px” header_6_letter_spacing=”4px” text_orientation=”center” custom_margin=”0px||0px|0px|false|false” custom_padding=”0px||0px||false|false” locked=”off” global_colors_info=”{}”]<\/p>\n

2018<\/p>\n

LONDON<\/h6>\n

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ITALIAN PASSION FROM 1956<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” text_font=”|300|||||||” text_line_height=”2.4em” header_4_font=”|600|||||||” header_4_text_align=”center” header_4_text_color=”#777777″ header_4_font_size=”16px” header_6_font=”|300|||||||” header_6_font_size=”12px” header_6_letter_spacing=”4px” text_orientation=”center” custom_margin=”0px||0px|0px|false|false” custom_padding=”0px||0px||false|false” global_colors_info=”{}”]<\/p>\n

2017<\/p>\n

LONDON<\/h6>\n

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HARMONIES AND DISCREPANCIES
Paths in the Italian art between the twentieth and the twenty-first century<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” text_font=”|300|||||||” text_line_height=”2.4em” header_4_font=”|600|||||||” header_4_text_align=”center” header_4_text_color=”#777777″ header_4_font_size=”16px” header_6_font=”|300|||||||” header_6_font_size=”12px” header_6_letter_spacing=”4px” text_orientation=”center” custom_margin=”0px||0px|0px|false|false” custom_padding=”0px||0px||false|false” locked=”off” global_colors_info=”{}”]<\/p>\n

2020<\/p>\n

SINGAPORE<\/h6>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ disabled_on=”on|on|on” _builder_version=”4.22.2″ _module_preset=”default” custom_margin=”0px||0px||false|false” custom_padding=”0px||0px||false|false” disabled=”on” locked=”off” global_colors_info=”{}”][et_pb_row column_structure=”1_3,1_3,1_3″ make_equal=”on” _builder_version=”4.19.4″ _module_preset=”default” width=”100%” custom_margin=”0px||||false|false” custom_padding=”0px||0px||false|false” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.19.4″ _module_preset=”default” custom_padding=”||80px||false|false” link_option_url=”https:\/\/mucciaccia.com\/milky-way-the-luminous-galaxy-of-the-20th-century\/” global_colors_info=”{}”][et_pb_image src=”https:\/\/mucciaccia.com\/wp-content\/uploads\/2015\/06\/piccolissima-per-CS-capri-certosa-jpg.jpg” alt=”VIA LATTEA. La Galassia Luminosa del Novecento” title_text=”via-lattea” align=”center” _builder_version=”4.19.4″ _module_preset=”default” height=”200px” custom_margin=”0px||||false|false” custom_padding=”0px||||false|false” locked=”off” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” text_font=”|300|||||||” text_line_height=”2.4em” header_4_font=”|600|||||||” header_4_text_align=”center” header_4_text_color=”#777777″ header_4_font_size=”16px” header_6_font=”|300|||||||” header_6_font_size=”12px” header_6_letter_spacing=”4px” text_orientation=”center” custom_margin=”0px||0px||false|false” custom_padding=”0px||0px||false|false” locked=”off” global_colors_info=”{}”]<\/p>\n

MILKY WAY.
The Luminous Galaxy of the 20th Century<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” text_font=”|300|||||||” text_line_height=”2.4em” header_4_font=”|600|||||||” header_4_text_align=”center” header_4_text_color=”#777777″ header_4_font_size=”16px” header_6_font=”|300|||||||” header_6_font_size=”12px” header_6_letter_spacing=”4px” text_orientation=”center” custom_margin=”0px||0px|0px|false|false” custom_padding=”0px||0px||false|false” locked=”off” global_colors_info=”{}”]<\/p>\n

2020<\/p>\n

SINGAPORE<\/h6>\n

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CHEF D\u2019OEUVRE
Artist between XX and XXI centuries<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” text_font=”|300|||||||” text_line_height=”2.4em” header_4_font=”|600|||||||” header_4_text_align=”center” header_4_text_color=”#777777″ header_4_font_size=”16px” header_6_font=”|300|||||||” header_6_font_size=”12px” header_6_letter_spacing=”4px” text_orientation=”center” custom_margin=”0px||0px|0px|false|false” custom_padding=”0px||0px||false|false” locked=”off” global_colors_info=”{}”]<\/p>\n

2020<\/p>\n

LONDON<\/h6>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.19.4″ _module_preset=”default” custom_padding=”||80px||false|false” global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ disabled_on=”on|on|on” module_id=”publications” _builder_version=”4.22.2″ _module_preset=”default” custom_margin=”0px||0px||false|false” custom_padding=”60px||0px||false|false” disabled=”on” locked=”off” global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text module_class=”hyperlink-color-image” _builder_version=”4.19.2″ _module_preset=”default” header_2_font_size=”18px” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” header_2_font_size_tablet=”18px” header_2_font_size_phone=”18px” header_2_font_size_last_edited=”on|desktop” global_colors_info=”{}”]<\/p>\n

PUBBLICAZIONI<\/h2>\n

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Carla Accardi \u2013 Senza passato<\/h4>\n

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Catalogo della mostra a cura di Fabrizio D\u2019amico<\/span>
Pubblicato da Carlo cambi Editore<\/span>
2017<\/span><\/p>\n

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Artists<\/a><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

OVERVIEW\u00a0 \u00a0WORKS\u00a0 \u00a0EXHIBITIONS\u00a0 \u00a0PUBLICATIONSBorn in 1968. Lives and works in London, UK. Maryam Eisler is a London \u2013 based photographer and author. Maryam\u2019s photographic work is centred around the Sublime Feminine. She has had shows with Alon Zakaim, Tristan Hoare and Linley (London) as well as Harper’s (East Hampton, NY). She has additionally shown at […]<\/p>\n","protected":false},"author":8,"featured_media":24174,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"

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Born in 1924 in Trapani, Italy; dies in 2014 in Rome, Italy.<\/p>\r\n

After\u00a0her studies at the Accademia delle Belle Arti in Florence, she moves to Rome in 1946. Together with her future husband, Antonio Sanfilippo, they found Forma 1 in 1947, with also Turcato, Attardi, Perilli, Dorazio and Guerrini. The Group considers the geometric lines\u00a0as pure form toward abstraction and formalism, rejecting any link of continuity with the Italian painting of the last twenty years. After\u00a0the group Forma 1 breaks-up in 1951, Accardi continues her abstract, but concrete, research until 1952 and from 1954 she starts painting in black and white \u2013 the Negativi<\/i>. In\u00a01961, she reintroduces colours in her compositions, obtaining also optical effects. Accardi joins the Continuit\u00e0 Group, and prepares solo exhibitions\u00a0in\u00a0New York and\u00a0London. In\u00a0the 1970s,\u00a0she works with glazes on terracotta tiles and paints repeated geometric patterns on sicofoil,\u00a0transparent plastic instead of canvas. Using large sheets, she completes a series of works that investigate the relationship with the environment: Tenda<\/i> and Tripla tenda <\/i>for Galleria Editalia of Rome and for Venice Biennale 1976, Ambiente\/Arte Section. She participates at Venice Biennale in 1948, 1964, 1976, 1978, 1993 and in 1988 she is given a personal room. In the 1980s, Accardi returns to two-dimensional with the sequences of the Parentesi<\/i> and Capricci<\/i>. She exhibits in solo and group exhibitions abroad.\u00a0In 1996, Accardi is\u00a0named Accademico di Brera in Milan and in 1997 she receives the Cavaliere di Gran Croce.<\/p>\r\n\u00a0\r\n\r\n<\/div>\r\n\u00a0\r\n

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