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Michael Venezia

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Open a larger version of the following image in a popup: Michael Venezia, MVNY #862, 1971
Open a larger version of the following image in a popup: Michael Venezia, MVNY #862, 1971
Open a larger version of the following image in a popup: Michael Venezia, MVNY #862, 1971
Open a larger version of the following image in a popup: Michael Venezia, MVNY #862, 1971
Open a larger version of the following image in a popup: Michael Venezia, MVNY #862, 1971
Open a larger version of the following image in a popup: Michael Venezia, MVNY #862, 1971

Michael Venezia

MVNY #862, 1971
Carbon black and metalized bronze powders on paper
110 x 74 cm
43 1/4 x 29 1/8 inches
Copyright The Artist
Photo: Dirk Tacke
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Weitere Abbildungen

  • (View a larger image of thumbnail 1 ) Michael Venezia, OW45, 2019
  • (View a larger image of thumbnail 2 ) Michael Venezia, OW45, 2019
  • (View a larger image of thumbnail 3 ) Michael Venezia, OW45, 2019
  • (View a larger image of thumbnail 4 ) Michael Venezia, OW45, 2019
  • (View a larger image of thumbnail 5 ) Michael Venezia, OW45, 2019
  • (View a larger image of thumbnail 6 ) Michael Venezia, OW45, 2019
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Michael Venezias Spray-Paintings auf Papier, die in den frühen 70er Jahren entstanden sind, gehören zu den seltenen Papierarbeiten des Künstlers und besitzen im Vergleich zu den Leinwänden einen experimentelleren Charakter....
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Michael Venezias Spray-Paintings auf Papier, die in den frühen 70er Jahren entstanden sind, gehören zu den seltenen Papierarbeiten des Künstlers und besitzen im Vergleich zu den Leinwänden einen experimentelleren Charakter. Venezia revolutionierte mit seinen Spray-Paintings den Farbauftrag grundlegend, in dem er Acrylemulsion mit Metallpigmenten mischt und mittels einer industriellen Spraypistole auf den Bildträger aufbringt. Über ihre visuelle Qualität hinaus, stellen die Papierarbeiten die Untersuchung des Sprayprozesses, des Aufprallwinkels, der Sprühdauer und Formbildung dar, um die Irrationalität und Veränderlichkeit dieses Farbauftrags zu analysieren. In den unregelmäßigen Strukturen erkundet Venezia das Thema der Wiederholung und Verhältnismäßigkeit der Spraymarkierung zueinander. Im Zentrum dieser Versuche steht die Imitation, beziehungsweise instinktive Wiedergabe, einer stets identischen Sprühtechnik auf dem gleichen Blatt.

In „MVNY #862“ (1971) trägt Venezia Kohlepulver und metallisiertes Bronzepulver auf Papier entlang Bleistiftmarkierungen mittels einer Sprühpistole auf. Trotz der symmetrischen und rasterförmigen Anordnung im Gitternetz 3 x 4 unterscheiden sich die jeweiligen Sprühstöße voneinander, da die Kontrolle und exakte Wiederholung von Sprühdauer und Abstand zum Papier nicht exakt reproduziert werden kann.


Michael Venezia's spray paintings on paper, created in the early 1970s, are among the artist's rare works on paper and have a more experimental character than his canvases. Venezia revolutionized the application of paint with his spray paintings by mixing acrylic emulsion with metal pigments and applying them to the canvas using an industrial spray gun. Beyond their visual quality, the works on paper represent an investigation of the spray process, the angle of impact, the duration of spraying and the formation of form, in order to analyze the irrationality and mutability of this application of paint. In the irregular structures Venezia explores the theme of repetition and proportionality of the spray mark to each other. At the center of these experiments is the imitation, or instinctive reproduction, of an always identical spray technique on the same sheet.

In “MVNY #862” (1971) Venezia applies carbon powder and metallized bronze powder to paper along pencil marks using a spray gun. Despite the symmetrical and grid-like arrangement in the 3 x 4 grid, the respective spray strokes differ from each other, as the control and exact repetition of spray duration and distance to the paper cannot be reproduced exactly.
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