milan

View of “Enrico Castellani, Robert Mangold, Robert Morris, Kenneth Noland,” 2016. From left: Kenneth Noland, Acute, 1974; Robert Morris, Untitled, 1974; Enrico Castellani, Superficie bianca (White Surface), 2001; Kenneth Noland, Blind Passage, 1977. Photo: Lucrezia Roda.

Enrico Castellani, Robert Mangold, Robert Morris, and Kenneth Noland

Galleria Fumagalli

View of “Enrico Castellani, Robert Mangold, Robert Morris, Kenneth Noland,” 2016. From left: Kenneth Noland, Acute, 1974; Robert Morris, Untitled, 1974; Enrico Castellani, Superficie bianca (White Surface), 2001; Kenneth Noland, Blind Passage, 1977. Photo: Lucrezia Roda.

After a long, fruitful period in Bergamo, Italy, that began in 1971, the Galleria Fumagalli moved to Milan in 2011. This year the gallery moved again—though it remains in the same city—and opened its new venue with this show, “Enrico Castellani, Robert Mangold, Robert Morris, Kenneth Noland: A Personal View of Abstract Painting and Sculpture.” The main intention of the exhibition, organized by independent curator Hayden Dunbar, was to compare these four artists in relation to themes such as the redefinition of the artwork and its surface as objective and phenomenal realities, and the active relationship of the image with the space. Viewers confronted examples of an abstraction that is rigorous but never neutral, characterized by experimentation with unusual techniques and materials, and moving between monochromy and construction, between chance and organization.

Castellani’s

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the November 2016 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.