Some years ago, I came across a painting by Robert Kelly Alcuni anni fa, mentre ero in visita presso un mercante d’arte, while visiting one of his art dealers. I instantly became mi sono imbattuto in un quadro di Robert Kelly. Fu amore a fascinated with his work – the light green pastel colour prima vista: il verde pastello tenue che divideva il quadro in dividing the painting into two halves – with its exquisite due parti, il raffinato collage di carte antiche, con una palma collage of antique papers with a biblical palm tree. This dal richiamo biblico. Questo quadro suscitò istantaneamente painting gave me an instant impulse of wanting to be part of in me il desiderio di partecipare alla carriera artistica di RK, his art career, to exhibit his work, its elegant quality – the di far conoscere il suo lavoro in tutta la sua eleganza, il passato past, with its collages to a contemporaneous present, with che si lega coi suoi collage ad un mondo contemporaneo the monochrome details of the paintings; two worlds unite. fatto di dettagli monocromatici; l’unione di due mondi.

In 2005, I gave Robert his first solo exhibition in Italy. From Nel 2005 organizzai la prima personale italiana di Robert. there on,a fantastic professional relationship and unique Da allora è nata tra di noi una fantastica relazione friendship has developed. During my numerous visits to New professionale ed un’amicizia unica. Nel corso delle mie York we have had many discussions about the direction of his numerose visite a New York, abbiamo spesso parlato new work – his use of collaged manifests - applying of the front della direzione assunta dal suo nuovo lavoro - i collage di of the manifests facing the canvas for the viewer to evidence manifesti, con l’immagine rivolta alla tela per sottolinearne the “retro”, the emerging Tropos Series, with their geometric il “retro”, l’avvento delle Serie Tropos, le cui composizioni compositions establishing a connection with the phrases that geometriche stabiliscono un legame con le frasi che emerge from the verso of the manifests. An amazing series emergono dal verso dei manifesti. RK aveva dato vita ad of works was created which has evolved further in a bold una straordinaria serie di opere in audace evoluzione, ma manner - always with his great precision and refinement. sempre contraddistinte da grande precisione e raffinatezza.

We have also experienced some great times – visiting art Abbiamo trascorso assieme anche ore esaltanti – visitando fairs, continuously discussing the contemporary art trends, le fiere d’arte, dibattendo continuamente le tendenze enjoying ourselves immensely by meeting art dealers and dell’arte contemporanea, divertendoci immensamente collectors, museum directors, great dinners, skiing in Cortina nell’incontro con mercanti e collezionisti d’arte, direttori di D’Ampezzo - as my private instructor due to his fantastic musei, partecipando a cene fantastiche o sciando a Cortina skiing abilties and style, together with his great love, Shirine. D’Ampezzo, dove, insieme al grande amore della sua vita, Shirine, si è preso cura di me, diventando il mio istruttore I want to give my sincere gratitude to Robert for this second privato di sci, sport in cui eccelle per abilità e stile. great exhibition in Italy and for allowing me to represent him in Italy and Europe, which has given me the opportunity to Desidero esprimere a Robert la mia sincera gratitudine per enhance important Private and Public European collections la sua seconda grande mostra italiana e per avermi concesso with his works of art. I also want to give my special thanks il privilegio di rappresentarlo in Italia e in Europa, il che to Spazio Bianco Relais San Maurizio - Cristina Franzoni mi ha dato l’opportunità di arricchire importanti collezioni and Pier Domenico Gallo, for allowing me to do this great europee pubbliche e private con le sue opere d’arte. Un exhibition Project with their support. grazie particolare anche allo Spazio Bianco Relais San Maurizio, a Cristina Franzoni e Pier Domenico Gallo, per Roberto Annicchiarico avermi aiutato con il loro sostegno a realizzare questo AR / Contemporary Art grande progetto espositivo. Roberto Annicchiarico AR / Contemporary Art / Luminous, highly charged and in the present, Robert Kelly’s in the process of composing formal puzzles. Addressing the composition. Here lies Kelly’s signature interest in literally work inscribes a history of culture upon canvas like notes full expanse of a canvas covered entirely with paper, he building rather than painting a painting; the composition PAPER from a diary, a palimpsest,a paper trail. In many of these masterfully builds up his surface with the pared down tools of painted elements and material overlays constitute an new works, Kelly addresses this historic present through of line, form and color. Given their remarkable elegance, aleatory play of concision and refinement. With the odd dot, the nuances disclosed in the fragments of text found in sheen and tactile qualities, the paintings invite drop-dead splash and spatter of pigment shimmering on the surface, TRAILS the inventory of vintage posters and sheets of archival awe. Such exquisite qualities are found in two recent such iterations are left behind as elements of the unfolding newsprint he uses as essential components in his lustrous large-scale works in oil and mixed media on canvas that narrative within the paper’s trail, receding and lapping Edward Leffingwell surfaces. Acknowledging the subtleties of change attributed incorporate vintage poster materials from a mid 20th century forward like water over sand. September, 2010 to the passage of time as the inks burn through from recto films abutted with cut sheets of archival newsprint and to verso, he uses the flipside of these found papers for the titled as the “Nocturnes” of Fellini’s 8 1/2 and Visconti’s A master of difficult things, Kelly is a patient and focused fleeting memory of their previous narratives. The vintage The Damned. A third incorporates the collage of a venerable artist. With an informed regard for the material qualities of posters are printed with lithographic rather than synthetic label of Cognac in Nocturne Grande XXI. These recent works the making of art, fueled by his experiences as an inveterate inks allowing for a richer bleed, and with skims of acrylic celebrate the architectural capacity of the post to lift and traveler, he searches for a harmonious balance where history as an adhesive, he constructs his surfaces, wet on wet. the lintel to bear. As Kelly covers the canvas with paper and personal exploration continually yield new pathways Tooling the paper flat, he places one element next to those overlays that grip around the edges, he creates a kind of of process and image. His work has become so sufficiently that follow with a mason’s precision as he expels excess air, armature graced with a sculptural materiality and serenity self-composed that it may seem to draw itself, to exist as an water and acrylic for a marriage of material. of form, a visual simplicity suggesting a flattening as in the object with an irrefutable presence. work of Masaccio, Piero della Francesca and Lorenzetti. As a matter of principle concern in this career-long discourse on the conversation of materials and their use, the work Relatively intimate in scale, his sage-green Tropos in oil and remains remarkable for its simplicity and restraint. The mixed media on panel precede his homage to Italian cinema. discovery of his layered components becomes increasingly Here, the text is clear and inviting, a super-bold sans serif, rational and accessible through the creation of a formal and reversed, and the gradient green fields intersected with distinctive abstract language--a clear voice--with specific black forms suggesting pedestals. Kelly regards such burns elements so imbued that they come to seem inevitable, as on the backsides of this intimate collection of paper as though they themselves possessed an emphatic ability to pivotal abstract elements of the larger work, the information manifest sui generis. His influences include the De Stijl of the poster remaining broadly referential, relatively dense movement, Malevich and Mondrian and the modernist and sufficiently luminous to serve as symbolic figure to pursuits from the Bauhaus to Joaquin Torres-Garcia, to ground signifiers, as well as compositional counterweights. which roster he adds Guston, Diebenkorn, Schwitters, A study into process and composition occurs in the Babel Blinky Palermo and Brazilian Neo-Concretists Lydia Clark Series where the phantom faces and emerging text exchange and Helio Oiticica. Kelly’s shared affinities with these artists dialogue with black rectangular forms resembling the suggest more the pleasure he derives from such a broad reductive figures of Joel Shapiro’s similarly dynamic work. spectrum of concerns than any specific formal meaning derived in particular from any one determinate lineage. In his Mimesis Series, fields figured with the square, arc and circle speak from an architecture out of Malevich’s Acknowledging the near lapidary nature of a hard-won Supremetist imperatives based on geometric forms; their process, the work is, in a sense, a conflation of collage formal qualities so expansive and so composed as to flex. and painting. Rectilinear color fields of oil pigments are In a pairing of motifs, or doubling of forms that emphasize subsequently laid down with a trowel-like brush leaving both their singularity and coupling into a sculptural bond, a fine, rhythmic pattern formed in drags across the Kelly creates a powerful sweep of reversing pigments across overlapping sides or ridges of the paper cuts, covering his tile-like constructed surfaces. Their lustrous finish is a the surface and revealing an overall grid. The remaining critically significant element Kelly has likened to the patina uncovered compositions of vintage papers reveal diverse of bone, polished ivory, burnished alabaster or limestone. elements that read upright, reversed, Italian, a text of clear Helvetica, essentially unreadable, with drag marks of ash A series of lively, at times rhythmic and variously scaled and charcoal introducing a kind of pentimenti. paintings in the manner of a musical score, Kelly’s Thickets emphasize a direct engagement with the painterly mark. Kelly compares his work method to the practice of a He assembles these vertical brushstrokes in a block like stonemason building a wall, setting the components in manner creating a intricate patchwork along lateral edges place as they rise with an astuteness and precision found that are balanced by the dynamic ascension of the overall / Luminoso, intenso e immerso nel presente, il lavoro di Kelly paragona il proprio metodo di lavoro alla pratica di un che Kelly ha paragonato alla patina di osso, avorio lucidato, Robert Kelly inscrive sulla tela una storia di cultura, come muratore che erige un muro, sistemando i vari componenti alabastro brunito, calcare. PAPER appunti di un diario, un palinsesto, un sentiero di carta. In man mano che salgono, con l’astuzia e la precisione acquisite molti di questi nuovi lavori Kelly affronta il presente storico nel processo di comporre puzzle formali. Dedicandosi Una serie di vivaci, a volte ritmici e variamente dimensionati attraverso le sfumature scoperte nei frammenti di testo alla totale estensione di una tela interamente coperta di dipinti alla maniera di una partitura musicale, i Thickets di TRAILS trovati in un archivio di poster vintage e di fogli di carta da carta, egli ne incrementa con maestria la superficie con gli Kelly enfatizzano un diretto coinvolgimento con il segno giornale, che egli usa come componenti base delle sue superfici strumenti di riduzione progressiva di linea, forma e colore. pittorico. Egli assembla queste pennellate verticali in un Edward Leffingwell brillanti. Consapevole delle finezze del cambiamento operate Data la loro rimarchevole eleganza, lucentezza e qualità blocco, in modo da creare un intricato patchwork lungo i Settembre 2010 dal passare del tempo come gli inchiostri passano dal recto tattili, i dipinti invitano a uno stupore meravigliato. Tali bordi laterali che sono bilanciati dall’ascensione dinamica al verso, egli utilizza il rovescio dei suoi reperti di carta a squisite qualità si ritrovano in due recenti lavori di grandi della composizione complessiva. Qui si colloca l’interesse fugace memoria delle loro narrazioni precedenti. I manifesti dimensioni, realizzati ad olio e tecnica mista su tela, che distintivo di Kelly per la costruzione -letteralmente - vintage sono stampati con inchiostri litografici, anziché incorporano materiali di manifesti vintage di film della piuttosto che la pittura, di un quadro; la composizione di sintetici, che permettono un maggiore sfogo, e con pellicole metà del XX secolo, a ritagli di carta di giornale d’archivio elementi pittorici e rivestimenti materiali costituisce un di acrilico come adesivo egli costruisce le sue superfici, e intitolati “Nocturnes” (8 1⁄2 di Fellini) e (La caduta degli gioco aleatorio di concisione e raffinatezza. Con qua e là una bagnato su bagnato. Lavorando la carta in orizzontale, egli dei di Visconti). Un terzo lavoro incorpora il collage di una macchia, uno schizzo e uno spruzzo di pigmento luccicante sistema un elemento accanto all’altro con la precisione di un onorata marca di Cognac, in Nocturne Grande XXI. Questi sulla superficie, tali iterazioni rimangono come elementi muratore, eliminando l’aria, l’acqua e l’acrilico in eccesso, recenti lavori celebrano la capacità architettonica del palo della narrativa che si svolge all’interno di un sentiero di per un matrimonio di materiale. di alzare e dell’architrave di reggere. Quando Kelly copre carta, arretrando e avanzando come acqua sulla sabbia. la tela con strati di carta che afferrano i bordi, egli crea Come questione di principio, che anima la trattazione lunga una sorta di armatura ingentilita da materialità scultorea Maestro delle cose difficili, Kelly è un artista paziente tutta una carriera sull’interazione tra i materiali e il loro e serenità di forma, una semplicità visiva che suggerisce e focalizzato. Con un riguardo informato per le qualità utilizzo, il lavoro rimane notevole per la sua semplicità e un appianamento come nell’opera di Masaccio, Piero della materiali del fare arte, alimentato dalle sue esperienze di moderazione. La scoperta delle sue componenti stratificate Francesca e Lorenzetti. instancabile viaggiatore, egli ricerca un armonioso equilibrio diventa sempre più razionale e accessibile attraverso la dove la storia e l’esplorazione personale continuamente creazione di un linguaggio astratto formale e distintivo – una Relativamente intimo per dimensioni, il suo Tropos verde producono nuovi percorsi di processo e di immagine. Il suo voce chiara – con specifici elementi tanto pregni da arrivare salvia, realizzato ad olio e tecnica mista su pannello, precede lavoro è diventato così sufficientemente auto-composto da a sembrare inevitabili, come se essi stessi possedessero una il suo omaggio al cinema italiano. Qui il testo è chiaro e sembrare disegnarsi da sé, esistere come un oggetto con una capacità enfatica di manifestare la propria atipicità. Tra le invitante, un carattere San Serif in grassetto, invertito, inconfutabile presenza. sue influenze ricordiamo il movimento De Stijl, Malevich e e i campi verdi inclinati intersecati da forme nere che Mondrian e le ricerche moderniste, dalla Bauhaus a Joaquin suggeriscono dei piedistalli. Kelly considera le bruciature Torres-Garcia, e ancora Guston, Diebenkorn, Schwitters, sul retro di questa intima collezione di carta come elementi Blinky Palermo e i Neo-Concretisti brasiliani Lydia Clark ed astratti centrali del più ampio lavoro, in cui l’informazione Elio Oiticica. Le affinità condivise da Kelly con questi artisti del manifesto resta generalmente referenziale, relativamente suggeriscono più il piacere che egli trae da un così ampio densa e sufficientemente luminosa da servire come figura spettro di interessi, che uno specifico significato formale simbolica a significanti di base, come contrappesi della derivato in modo particolare dall’una o dall’altra di queste composizione. Uno studio sul processo e la composizione si influenze. trova nelle Babel Series, dove le facce fantomatiche e il testo affiorante dialogano con forme nere rettangolari simili alla Riconoscendo le natura quasi lapidaria di un processo figure riduttive del lavoro similarmente dinamico di Joel conquistato a fatica, il lavoro è, in un certo senso, una Shapiro. fusione di collage e pittura. Campi rettilinei di colore a olio sono stesi in successione con un pennello tipo cazzuola che Nelle sue Mimesis Series aree raffigurate con il quadrato, crea un sottile motivo ritmico, realizzato tirando il colore sui l’arco e il cerchio parlano di un’architettura uscita dagli lati sovrapposti o le grinze dei ritagli di carta, ricoprendo imperativi suprematisti di Malevich basati su figure la superficie e rivelando al contempo una griglia globale. geometriche; le loro qualità formali tanto in espansione Le restanti composizioni di carte vintage non ricoperte dal e tanto composte che si flettono. In un abbinamento di colore rivelano diversi elementi che si leggono al diritto, al motivi o raddoppio di forme che enfatizzano sia la propria contrario, in italiano, un testo in chiaro carattere Helvetica singolarità, sia l’accoppiata in un legame scultoreo, Kelly sostanzialmente illeggibile, con strisciate di cenere e crea un potente flusso di pigmenti che muovono in senso carboncino che svelano quasi dei pentimenti (tracce visibili inverso attraverso le sue superfici lamellari. La loro di pitture precedenti). brillante finitura è un elemento criticamente significativo

/ PAPER TRAILS EXHIBITION

SPAZIO BIANCO RELAIS SAN MAURIZIO MIMESIS ROUGE XXI, 2010 oil/mixed media on canvas 80 x 64 inches / 203.2 x 162.6 cm MIMESIS ROUGE XX, 2010 oil/mixed media on canvas 80 x 64 inches / 203.2 x 162.6 cm FELLINI’S NOCTURNE I (8 1/2 / 1963), 2010 VISCONTI’S NOCTURNE II (The Dammed / 1969), 2010 oil/mixed media on canvas oil/mixed media on canvas 72 x 56 inches / 182.8 x 142.2 cm 72 x 56 inches / 182.8 x 142.2 cm NOCTURNE GRANDE LXIII (Cognac), 2010 oil/mixed media on canvas 72 x 56 inches / 182.8 x 142.2 cm TROPOS VII, 2007 TROPOS XVII, 2010 oil / mixed media on canvas oil / mixed media on canvas 40 x 32 inches / 101.6 x 81.2 cm 40 x 32 inches / 101.6 x 81.2 cm MIMESIS NOIR III, 2010 BABEL VII (Totem Series / London 1916), 2008 oil / mixed media on linen oil / mixed media on panel 27 x 22.5 cm / 68.5 x 57.1 cm 17 x 14 inches / 43.2 x 35.6 cm THICKET ASSEMBLAGE LXX, 2008 THICKET ASSEMBLAGE LXXII, 2008 THICKET ASSEMBLAGE LXXIII, 2008 oil / mixed media on linen oil / mixed media on linen oil / mixed media on linen 27 x 22.5 inches / 68.5 x 57.1 cm 27 x 22.5 inches / 68.5 x 57.1 cm 27 x 22.5 inches / 68.5 x 57.1 cm NOCTURNE SUITE XXXI, 2009 NOCTURNE SUITE XXXII, 2009 oil / mixed media on panel oil / mixed media on panel 24 x 30 inches / 60.9 x 76.2 cm 24 x 30 inches / 60.9 x 76.2 cm BABEL XI (Credit Nationale 1922), 2009 BABEL XIII (Kabarett 1954), 2009 BABEL XV (Yam 1956), 2010 oil / mixed media on linen oil / mixed media on linen oil / mixed media on linen 21.5 x 20 inches / 54.61x 50.80 cm 21.5 x 20 inches / 54.61 x 50.80 cm 21.5 x 20 inches / 54.61 x 50.80 cm TROPOS NOIR VI, 2010 TROPOS ROUGE VII, 2010 oil / mixed media on panel oil / mixed media on panel 19.25 x 15.25 inches / 48.89 x 38.73 cm 19.25 x 15.25 inches / 48.89 x 38.73 cm TROPOS XXVII, 2008 oil / mixed media on panel 17 x 14 inches / 43.2 x35.6 cm TROPOS XXIX, 2008 TROPOS XXXII, 2008 TROPOS XXX, 2008 TROPOS XXXI, 2008 oil / mixed media on panel oil / mixed media on panel oil / mixed media on panel oil / mixed media on panel 17 x 14 inches / 43.2 x 35.6 cm 17 x 14 inches / 43.2 x35.6 cm 17 x 14 inches / 43.2 x35.6 cm 17 x 14 inches / 43.2 x35.6 cm NOCTURNE SUITE XL, 2010 NOCTURNE SUITE XXXIX, 2010 NOCTURNE SUITE XXXXVIII, 2010 oil / mixed media on panel oil / mixed media on panel oil / mixed media on panel 10 x 7.75 inches / 25.40 x 19.68 cm 10 x 7.75 inches / 25.40 x 19.68 cm 10 x 7.75 inches / 25.40 x 19.68 cm ROBERT KELLY Group Exhibitions

Born 1956 Santa Fe, New Mexico 2010 Dallas Art Fair/Shearburn Gallery, Dallas, TX Lives and works in New York, NY 2009 Cleve Carney Collection, Elmhurst Art Museum, Elmhurst, IL 2008 Tipping the Balance, The Drawing Room, East Hampton, NY Education Linear Manifestations, Jeannie Freilich Contemporary, 1978 Harvard University, Cambridge, Massachusetts. Bachelor of Arts New York, NY ADAA The Art Show 2008/ Berggruen Gallery, New York, NY Chicago Art Fair 2008/ Shearburn Gallery, Chicago, IL Solo Exhibitions Summer Group Show, Leslie Feely Fine Art, New York, NY Basel Art Fair / Berggruen Gallery, Basel, Switzerland 2007 20th Year Anniversary Exhibition, Galleri Weinberger, 2010 Spazio Bianco - Relais San Maurizio/ AR Contemporary Art, Italy Kobenhavn, Denmark 2009 John Berggruen Gallery, San Francisco, CA Basel Art Fair / Berggruen Gallery, Miami, FL 2008 Leslie Feely Fine Art, New York, NY Art Miami / Shearburn Gallery, Miami, FL Robert Kelly /Mel Kendrick, David Floria Gallery, Aspen, CO Group Show, Galleria Rosella Colombari, Milan, Italy 2007 Linda Durham Contemporary Art, Galisteo, NM Group Show, The Drawing Room, East Hampton, NY Tres Americas, Galeria Emma Molina, Monterrey, Mexico Year 07 / London Art Projects, AR Contemporary, Milan, Italy David Floria Gallery, Aspen, CO Toronto Art Fair / Douglas Udell Gallery, Toronto, Canada 2006 Bentley Gallery, Scottsdale, AZ ADAA The Art Show 2007, New York, NY Barbara Davis Gallery, Houston, TX Works on Paper and Related Sculpture, John Berggruen Gallery, 2005 AR Contemporary Art, Milan, Italy San Francisco, CA Bentley Gallery, Scottsdale, AZ 25 Year Collage Show, Elizabeth Leach Gallery, Portland, OR Doug Udell Gallery, Edmonton, Alberta 2006 Basel Art Fair / Berggruen Gallery, Basel, Switzerland 2004 Linda Durham Contemporary Art, Santa Fe, NM Miami / Basel Art Fair 2006, John Berggruen Gallery, Miami, FL John Berggruen Gallery, San Francisco, CA ADAA The Art Show 2006, New York, NY Anne Reed Gallery, Ketchum, ID You Are Invited Buschlen Mowatt Galleries, Palm Desert, CA 2003 Linda Durham Contemporary Art, New York, NY Miami / Basel Art Fair 2005, John Berggruen Gallery, Miami, FL Scott White Contemporary Art, La Jolla, CA 2005 New Paintings, David Floria Gallery, Aspen, CO 2002 John Berggruen Gallery, San Francisco, CA MOMA Lecture Series, Greenwich, CT Anne Reed Gallery, Ketchum, ID- Palmbeach3 Milwaukee Art Museum, Milwaukee, WI Bonhams, Contemporary and Modern Art. Limited Edition Prints & Sculpture, Elizabeth Leach Gallery, Smith College Art Museum, Northampton, MA November 10, 2009 Moldaw, Carol. Chalkmarks On Stone, La Alameda Press, New Mexico, 1997 New York, NY Jane Voorhees Zimmerli Art Museum, Rutger’s University, NJ Mary Judge & Robert Kelly,Two Person Show, Betsy Senior Gallery, Montgomery Museum of Fine Arts, Montgomery, AL Nancy Keates, Aspen’s Little Nell Gets a Big Make Over. McCloud, Kathleen. Robert Kelly: Complex Layers of Meaning, New York, NY The Fogg Museum, Cambridge, MA WS Journal, August 2009 The New Mexican, July 4, 1997 Art Chicago, Chicago Art Fair, Linda Durham Contemporary Art, Whitney Museum of American Art, New York, NY Galisteo, NM The Margulies Collection, Miami, FL Joe Fletcher. Time for a Change. Adelmann, Jan Ernsy. Report From Santa Fe, Going Mainstream, Smallest Show On Earth, Richard Levy Gallery, Albuquerque, NM The McNay Museum of Art, San Antonio, TX Interior Design, July 2009 Art in America, January 1995 1997 The Reflected Spirit, Megan Fox, Santa Fe , NM State of the Questions, Museum of Fine Arts, Santa Fe, NM (New Prints)Andy Spence, Richmond Burton, Robert Kelly, Hilarie M. Sheets. Robert Kelly, Leslie Feely Fine Art, Armitage, Diane. Geometric Abstraction at Allene Lapids Gallery, Mel Kendrick, Quartet Editions, NY ARTnews, March 2009 THE Magazine, September 1995 Selected Private Collections 1996 Retrospective/Prospective: 1996-1997, Anne Reed Gallery, Ketchum, ID Garcia, Luisa. Une muestra el oxido, lo digital yel dialogo, Baker, Kenneth. Local Color at the ICA, Boston Phoenix, May 26, 1981 AT&T, New York, NY SITE Santa Fe, Contemporary New Mexico Artists; Sketches & Vida El Norte, November 16, 2007 Body Shop International, London, England Schemas, Santa Fe, NM Bell, David. Artwork Taps Sensitivity Awareness, Sheldon Art Gallery, University of Nebraska, Lincoln, NB Chemical Bank, London, England Cook-Romero, Elizabeth. The Sights of Silence, Albuquerque Journal, August 20, 1992 Linda Durham Contemporary Art, Galisteo, NM Chemical Bank, Wilmington, DE The New Mexican, Pasatiempo June 22, 2007 Review, Albuquerque Journal, March 8, 1988 1995 Sarah Dobbs Gallery, Vancouver, British Columbia Christian Science Headquarters, Boston, MA Bentley Gallery, Scottsdale, AZ Cleve Carney, Elmhurst, IL Previews. Santa Fe Summer Preview, Bentley, Lis. Timeless Works Of Ancient, Devotional Spirit, 1994 Twelfth Annual Salon Show, Clark Gallery, Lincoln, MA Colgate, New York, NY Art In America June, 2006 Santa Fe New Mexico, August 19, 1994 Works from the William Small Collection, Smith College, Combined Jewish Philanthropies, Boston, MA Northampton, MA Dupont, Wilmington, DE AR/Contemporary Gallery, Robert Kelly Recent Works, Donahue, Marlena. Review, Los Angeles Times, January 22, 1988 1993 Eleventh Annual Salon Show, Clark Gallery, Lincoln, MA General Mills, Minneapolis, MN October 2005 Alumni Show, Carpenter Center, Harvard University, Cambridge, MA Gillette, Boston, MA Guiliano, Charles. Boston Now: Abstract Artists, Art New England, 1981 Works on Paper: Lyric with an Edge, Victoria, Munroe Fine Art, Grey Advertising, New York, NY Weideman, Paul. The Wide World of Zeros and Ones, New York, NY Graham Gund, Cambridge, MA The New Mexican, Pasatiempo, March 19, 2004 Gustafson, Paula. Doug Edge/Robert Kelly/Julie Richard, 1992 Tenth Annual Salon Show, Clark Gallery, Lincoln, MA Federal Reserve Bank of Kansas City, Kansas City, MO The Georgia Straight, April 14-21, 1995 Summer Salon, Victoria, Munroe Fine Art, New York, NY IBM, New York, NY Davis, Kathryn M. Robert Kelly: New Paintings/Assemblages, Selected Works on Paper, Victoria, Munroe Fine Art, New York, NY Hallmark, Kansas City, MI T H E magazine, September 2004 Henry, Gerrit. Robert Kelly; Victoria Munroe Gallery, 1991 The Painters, Victoria, Munroe Fine Art, New York, NY Werner Kramarsky, New York, NY ArtNews, November 1993. Houseguests, Art Talk, March 1988 Ninth Annual Salon Show, Clark Gallery, Lincoln, MA Marsh & McLennan, Inc., New York, NY Dugan, Dana. Artist Renders Formalism With Soul, 1990 Collector’s Choice, Center for the Arts, Vero Beach, FL Mead Data Central, Dayton, OH Idaho Mountain Express, August 18, 2004 Howell, D. Statistical Methods of Psychology, 1989 Monotypes from the Garner Tullis Workshop, Persons/Lindell William C. Mercer Collection, New York, NY Cover Illustration, (Boston, MA: Pindle, Weber, Schmidt) Gallery,Helsinki, Finland Microsoft Corporation, Mountain View, CA Kuntz, Melissa. Robert Kelly at Linda Durham, Mitchell/Goldberg/Kelly/Lovet, Galleri Weinberger, Mitsubishi, New York, NY Copenhagen, Denmark Art in America, February 2004 McCloud, Kathleen. Monotypes are Perfect Metaphors for Memory: Morgan Guarantee Trust Company, New York, NY Gallery Artists, Linda Durham Gallery, Santa Fe, NM Robert Kelly Accumulates History, Pasatiempo, The Santa Fe New England Life, Boston, MA Chicago International Art Exposition, Chicago, IL Loos, Ted. Sun Valley Splendor, House Beautiful, January 2004 New Mexican, July 19, 1996 The Olin Foundation, NY 1988 Art And Architecture, Acock Schlegel Architects/Brenda Kroos Pepsi Cola Company of Annapolis, MD Gallery, Columbus, OH Devon, Marjorie. Tamarind: 40 Years, Melrod, George. Preview, Art & Antiques, February 1997 Three Person Invitational, Linda Durham Gallery, Santa Fe, NM Phillip Morris Co., Boston, MA University of New Mexico Press, published May 2000 Gallery Artists, Galleri Weinberger, Copenhagen, Denmark Price Waterhouse, Boston, MA Reed, Arden. Robert Kelly: The Historical Present, Artspace, April 1992 1988 Los Angeles International Contemporary Art Expo Scientific Atlanta Headquarters, Atlanta, GA McQuaid, Cate. Opening of last show to celebrate Singer’s life, Sign of the Cross, Jamison/Thomas Gallery, Portland, OR Smith Barney, New York, NY Arts Media-Boston’s VA Guide, February 27, 2000 Robert Kelly, Santa Fean Magazine, Vol 24, No 6, July 1996 1987 Gallery Artists, Shelia Nussbaum Gallery, Millburn, NJ Solomon Brothers, New York, NY Summer Show, Victoria, Munroe Fine Art, New York, NY Time Inc., New York, NY Mandel, Charles. The Paint is the Point, Stapen, Nancy. Painters Stretch the Possible - Robert Ripps, 1986 Fourth Annual Salon Show, Clark Gallery, Lincoln, MA Wang, Boston, MA Edmonton Journal, November 5, 1999 Kathleen Bradford, Robert Kelly, The Boston Globe, November 11, 1993 Krakow International Print Biennale, Poland The Ginny Williams Foundation 1985 Linda Durham Gallery, Santa Fe, NM Wills Eye Hospital, Philadelphia, PA Sperduto, Doretta. Serenity in Seattle, Temin, Christine. Art of the State, The Boston Globe 1984 Salon Show, Clark Gallery, Lincoln, MA Met Home, September/October 1999 Summer Show, West End Gallery, Provincetown, MA Tobin, Richard. Robert Kelly at Linda Durham, Galisteo, Works On Paper, Victoria, Munroe Fine Art, New Haven, CT Weidman, Paul. Traveling Breaks Creative Habits, THE Magazine, September 1995 1983 Salon Show, Clark Gallery, Lincoln, MA The New Mexican, July 15, 1999 Best Of Boston, Mona Berman Gallery, New Haven, CT Unger, Miles. Robert Kelly, Art New England, December 1993 Gallery Artists, Impressions Gallery, Boston, MA Rexer, Lyle. Robert Kelly At Betsy Senior, New York, Group Show, Mills Gallery, Boston, MA Review, March 15, 1999 Van de Walle, Mark. Robert Kelly at Linda Durham, Galisteo, 1982 Color It Pastel, Paul Gallery, University of New Hampshire, Johnson, Ken. Mary Judge & Robert Kelly, Betsy Senior Gallery, THE Magazine, September 1992 Durham, NH New York Times, June 26, 1998 Zellen, Jody. Best of Boston, Art New England, Vol 4, No 6, May 1983 This catalogue was published on the occasion of Robert Kelly’s exhibition in Spazio Bianco, at Relais San Maurizio, Langhe, Italy in collaboration with AR / Contemporary Art, Milan, from October 25th – December 9th, 2010.

Robert Kelly wishes to thank AR / Contemporary Art and Roberto Annicchiarico for his continual support, dedication, and invaluable friendship. He gives special thanks to Cristina Franzoni and Pier Domenico Gallo for organizing and hosting this exhibition in Spazio Bianco at Relais San Maurizio, and the opportunity to exhibit his work in such an exquisite setting. He is grateful to Lorenzo Butti for his imagination and creative design that initiated this exhibition, and to Francesco Clerici for his curatorial assistance and support.

Robert dedicates this Show to Shirine Gill for her generous love, patience and guidance through his many ‘notti oscure dell’anima’. He is deeply grateful to his assistants, Selime Okuyan, Ryan and Trevor Oakes, and Dan Rushton, for tolerating his obsessive nature. He thanks Gary Mankus for his fine eye and technical skills with post-production.

He gives special thanks to Ed Leffingwell for his curatorial savvy and fine catalogue text.

Copyright © Robert Kelly, 2010 AR / Contemporary Art, 2010 Spazio Bianco / Relais San Maurizio, 2010 Ed Leffingwell, 2010

ISBN

Graphic design: Lorenzo Butti Photography: Ellen Page Wilson Photography, 2010 / Maris Hutchinson, Matthew Conradt Proofing: Gary Mankus / Gary Mankus Studios Translator: Globostudio Shipping: David O’Connell / OCS