Home Actress Maria Grazia Chiuri HD Instagram Photos and Wallpapers April 2024 Maria Grazia Chiuri Instagram - We embarked on a journey through time with @Biancocosmelli: from Rome, and a world of images linked with classical principles, to Capranica, a historic town in the Lazio countryside, a suspended realm where archetypal symbols are applied without constraint. The artist Suzanne Santoro guides us through her exploration of the immediacy of the artistic gesture up to today, with her return to New York and an installation at the Brooklyn Museum, a testimony to her constant research. It is a circular trajectory that traces her personal and everyday iconographic research, recreating a multilayered imagery full of hidden meanings. ©️ A special thanks to @ifexperience Photo: @laurasciacovelli Historical Images: Courtesy Suzanne Santoro. Rome, Pietro Consagra Studio, meeting of Rivolta Femminile, from the right Suzanne Santoro, Carla Lonzi, Carla Accardi, Marta Lonzi, 1971. On background Consagra sculpture: "Giardino bianco", painted iron, 1966. Courtesy Archivio Pietro Consagra Milan. Suzanne Santoro, Statua Romana, 1972 Black Mirrors series. Courtesy Suzanne Santoro

Maria Grazia Chiuri Instagram – We embarked on a journey through time with @Biancocosmelli: from Rome, and a world of images linked with classical principles, to Capranica, a historic town in the Lazio countryside, a suspended realm where archetypal symbols are applied without constraint. The artist Suzanne Santoro guides us through her exploration of the immediacy of the artistic gesture up to today, with her return to New York and an installation at the Brooklyn Museum, a testimony to her constant research. It is a circular trajectory that traces her personal and everyday iconographic research, recreating a multilayered imagery full of hidden meanings. ©️ A special thanks to @ifexperience Photo: @laurasciacovelli Historical Images: Courtesy Suzanne Santoro. Rome, Pietro Consagra Studio, meeting of Rivolta Femminile, from the right Suzanne Santoro, Carla Lonzi, Carla Accardi, Marta Lonzi, 1971. On background Consagra sculpture: “Giardino bianco”, painted iron, 1966. Courtesy Archivio Pietro Consagra Milan. Suzanne Santoro, Statua Romana, 1972 Black Mirrors series. Courtesy Suzanne Santoro

Maria Grazia Chiuri Instagram - We embarked on a journey through time with @Biancocosmelli: from Rome, and a world of images linked with classical principles, to Capranica, a historic town in the Lazio countryside, a suspended realm where archetypal symbols are applied without constraint. The artist Suzanne Santoro guides us through her exploration of the immediacy of the artistic gesture up to today, with her return to New York and an installation at the Brooklyn Museum, a testimony to her constant research. It is a circular trajectory that traces her personal and everyday iconographic research, recreating a multilayered imagery full of hidden meanings. ©️ A special thanks to @ifexperience Photo: @laurasciacovelli Historical Images: Courtesy Suzanne Santoro. Rome, Pietro Consagra Studio, meeting of Rivolta Femminile, from the right Suzanne Santoro, Carla Lonzi, Carla Accardi, Marta Lonzi, 1971. On background Consagra sculpture: "Giardino bianco", painted iron, 1966. Courtesy Archivio Pietro Consagra Milan. Suzanne Santoro, Statua Romana, 1972 Black Mirrors series. Courtesy Suzanne Santoro

Maria Grazia Chiuri Instagram – We embarked on a journey through time with @Biancocosmelli: from Rome, and a world of images linked with classical principles, to Capranica, a historic town in the Lazio countryside, a suspended realm where archetypal symbols are applied without constraint. The artist Suzanne Santoro guides us through her exploration of the immediacy of the artistic gesture up to today, with her return to New York and an installation at the Brooklyn Museum, a testimony to her constant research.
It is a circular trajectory that traces her personal and everyday iconographic research, recreating a multilayered imagery full of hidden meanings.

©️ A special thanks to @ifexperience
Photo: @laurasciacovelli
Historical Images: Courtesy Suzanne Santoro.
Rome, Pietro Consagra Studio, meeting of Rivolta Femminile, from the right Suzanne Santoro, Carla Lonzi, Carla Accardi, Marta Lonzi, 1971. On background Consagra sculpture: “Giardino bianco”, painted iron, 1966. Courtesy Archivio Pietro Consagra Milan.

Suzanne Santoro, Statua Romana, 1972 Black Mirrors series. Courtesy Suzanne Santoro | Posted on 15/Apr/2024 20:45:03

Maria Grazia Chiuri Instagram – In occasion of the @Dior Fall Winter 2024 show held at the @BrooklynMuseum, Suzanne Santoro has presented a site specific installation titled “I Thought Art Was for Women”, the readaptation of an artwork first seen in Rome in 1976. This work is a slideshow of photographs taken by the artist during her early years in Rome. It is connected to the research she began in the late 1960s on the origins of Western painting and sculpture through a series of images ranging from stains on Rome’s walls to classical Roman sculptures, understood as traces and evidence of the passage of time. Santoro’s research is an attempt to trace the archaic origin of images and interpretations of the female figure in order to provide a new perspective. The second installation features a series of recent drawings and Black Mirrors taken from the artist’s collection. I am very happy to give guests and museum visitors the opportunity to view the artist’s works in real life at the entrance of the showspace. Images from “I Thought Art Was for Women”, 1976-2024, video projection, variable dimension. Courtesy Suzanne Santoro
Maria Grazia Chiuri Instagram – In occasion of the @Dior Fall Winter 2024 show held at the @BrooklynMuseum, Suzanne Santoro has presented a site specific installation titled “I Thought Art Was for Women”, the readaptation of an artwork first seen in Rome in 1976. This work is a slideshow of photographs taken by the artist during her early years in Rome. It is connected to the research she began in the late 1960s on the origins of Western painting and sculpture through a series of images ranging from stains on Rome’s walls to classical Roman sculptures, understood as traces and evidence of the passage of time. Santoro’s research is an attempt to trace the archaic origin of images and interpretations of the female figure in order to provide a new perspective. The second installation features a series of recent drawings and Black Mirrors taken from the artist’s collection. I am very happy to give guests and museum visitors the opportunity to view the artist’s works in real life at the entrance of the showspace. Images from “I Thought Art Was for Women”, 1976-2024, video projection, variable dimension. Courtesy Suzanne Santoro

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