Vera Klement

Marianne Deson Gallery

In the 1960s, Vera Klement painted on a massive scale, largely in response to the abundant Chicago building-lobby exhibition space, in which anything under nine square feet is totally lost. Klement (a small-frame woman) found a pragmatic way of scaling down parts of her work so she could handle and transport it—Chicago building-lobby shows usually provide no transportation. She constructed canvas sections which, when juxtaposed, looked like the continuous surface of one painting, but could be easily disassembled for carrying home.

But this physical division could not help but affect the content of the painting. As with much other Chicago art which can be called “synthesis” work, her canvas sections produced a feeling of almost architectural wall divisions on which great, sweeping, unpredictable gestures were enacted and contained, something similar to the way Miesian window-walls reflect

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