INNER LANDSCAPES Nancy Genn - Marignana Arte
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Marignana Arte INNER LANDSCAPES Nancy Genn
INNER LANDSCAPES Nancy Genn a cura di | curated by Francesca Valente
Nancy Genn 2 Inner Landscapes 3
Nancy Genn: un raro arbusto selvatico e la mitsumata, pianta che pro- punto di riferimento essenziale. Una griglia mobile dia- passato e presente finiscono per convergere. Mondo
Inner Landscapes duce una fibra morbida, elastica e lucida. loga con strutture lineari aperte in continuo divenire su
uno sfondo che rievoca il colore intenso delle facciate
interiore e mondo esteriore diventano così un unicum
simultaneo che ispira una serena seppur appassionata
di Francesca Valente L’esperienza in Giappone permette a Nancy Genn di barocche e il dorato splendore dell’autunno romano: armonia, nata da un arcaico senso di meraviglia davanti
coniugare le tradizioni orientali e occidentali in un’origi- la visione multipla insita nella riorganizzazione di piani al mistero della vita stessa.
nale pratica contemporanea, che segna un punto d’in- asimmetrici, nell’intreccio dei livelli meticolosamente
Dopo la storica retrospettiva a Palazzo Ferro Fini nel contro tra l’estetica composta dell’arte nipponica e il sovrapposti ci induce a un viaggio di costante scoperta
2018 e la mostra a Ca’ Pesaro nel 2019, l’opera dell’ar- dinamico modernismo occidentale, arricchito dall’ispira- oltre la superficie delle cose.
tista californiana Nancy Genn approda nuovamente zione tratta dalla natura. La carta fatta a mano, da lei rea-
a Venezia alla galleria Marignana Arte, con alcuni rari lizzata con meticoloso impegno creativo e fisico, diviene Le serie più recenti dedicata a Tidelines e a The Shape
esemplari che testimoniano fasi diverse della sua lunga un mezzo espressivo nuovo, astratto ma mai imperso- of Water sono lavori sperimentali a matita e caseina su
e poliedrica carriera. nale, che coinvolge nell’atto della creazione la sensuale carta che suggeriscono una visione multipla in cui l’acqua,
manualità dell’artefice: in tuta e stivali, Nancy Genn tra- con tutte le sue connotazioni, diventa l’essenza strutturale
Riconosciuta tra le esponenti più importanti dell’arte scorrerà oltre dieci anni – dalla fine degli anni 70 agli inizi della composizione. In un saggio intitolato Bronze, Paper
informale del dopoguerra da Michel Tapié in Morpholo- degli anni 90 – ad affondare le braccia in una vasca d’ac- and Paint, l’artista osserva come la Baia di San Francisco,
gie Autre, Nancy Genn é legata profondamente all’Ita- qua per scegliere, tra cumuli di pasta di fibra vegetale, i con la sua nebbia mattutina e il riflesso sempre cangiante
lia. Residente a Berkeley, nella Baia di San Francisco, filamenti variamente colorati, pronti per essere lavorati, della luce perlacea, sia incastonata nella memoria di ben
è stata invitata più volte come visiting artist all’Ameri- pressati e asciugati in ogni singolo foglio. quattro generazioni di artisti presenti nella sua famiglia,
can Academy di Roma; è presente nelle collezioni per- compresa la madre.
manenti di importanti istituzioni e musei veneziani quali L’artista sembra considerare il suo metodo di costruzione
Palazzo Fortuny e la Fondazione Giorgio Cini; recente- come una sorta di rituale reiterato, che pone in primo Se le opere giovanili sono contraddistinte da gesti calli-
mente il Festival delle Arti di Todi, le ha dedicato una per- piano competenza tecnica e disciplina ma che va oltre grafici e linee delicate, le grandi astrazioni geometriche
sonale, nel contesto di un memorabile tributo a Beverly il mero intervento manuale. Grazie a questo sofisticato dei decenni successivi – ora incluse nella collezione per-
Pepper, carismatica artista americana della stessa gene- processo, la carta si libera dal ruolo di semplice supporto manente di Ca’ Pesaro- rivelano un approccio di tipo con-
razione, recentemente scomparsa. e dispiega appieno le sue straordinarie potenzialità, tra- templativo alla composizione. Le opere mature di Genn
sformandosi da superficie piatta in tangibile scultura si rivelano mantra spirituali, suggeriscono la serenità e la
Le opere esposte alla galleria Marignana Arte evidenziano tridimensionale, calcografata a rilievo, come si può con- disciplina delle filosofie e culture orientali. La pacata tavo-
come Nancy Genn sia riuscita nel tempo a dominare con statare in particolare nel trittico Saratoga 27 (1985). lozza dei colori crea una sorta di spartito musicale, una ben
eguale talento disegno, pittura, scultura, ceramica e inci- orchestrata composizione sinestetica che impegna simul-
sione in un processo creativo in continua evoluzione che Dopo essersi cimentata con tecniche artistiche e mate- taneamente occhio e orecchio, ridefinendo la percezione
include vitrografia e manifattura di carte artistiche. riali sempre nuovi, al pari dei grandi Maestri del Rinasci- umana. In richiamo alle architetture giapponesi, la griglia
mento, raggiunge l’apice del virtuosismo nella manifattura orizzontale è predominante, ma colature di colore creano
La carta, per la qualità magica delle sue origini, resta della carta d’autore, disciplina che le consente di pren- un lento, ritmico movimento verticale verso il basso. Lo
a tutt’oggi il suo medium privilegiato. Preceduta solo dere possesso dell’intero processo creativo fondendo l’e- sgocciolio che scende in modo quasi impercettibile nelle
da Robert Rauschenberg, con cui ha esposto in nume- sperienza di pittrice e scultrice in una sintesi unica nel maestose Rainbars – ora nella collezione permanente di
rosi musei degli Stati Uniti e dell’Asia, Nancy Genn è suo genere. Gli storici esemplari esposti a Marignana Ca’ Pesaro – diventa cascata che squarcia il rigido orien-
tra le prime artiste ad esprimersi con questo materiale Arte suggeriscono a un tempo, nell’impianto astratto di tamento orizzontale in Patagonia 4, 7 (2014) e Yosemite
in America. Nel 1979, grazie alle sue tecniche pionieri- linee e colori, la fisicità tridimensionale della tessitura e la Waterfall 3 (2016). L’immagine avvincente della cascata
stiche, vince una borsa di studio per uno scambio cre- magia più rarefatta della pittura, dando vita a sperimenta- suggerisce la curiosità onnivora sottesa agli innumerevoli
ativo Stati Uniti-Giappone che la porta a trascorrere un zioni incrociate di grande effetto e suggestione. viaggi dell’artista e al contempo evoca la possente energia
periodo in Estremo Oriente assieme al marito Tom, pro- di una natura che costantemente si rinnova. Il getto d’ac-
fondo conoscitore e interprete della cultura nipponica. In Pari audacia si ritrova nelle originali vitrografie realizzate qua a volte scaturisce verso l’alto come un geyser, pro-
quella occasione ha modo di visitare personalmente pro- nel decennio 1990-2000 a Spruce Pine, nelle Blue Ridge rompe dall’interno con forza rigeneratrice e terapeutica.
duttori locali di carta per apprenderne i metodi antichi e Mountains della Carolina del Nord, dove Genn è più volte In entrambe le direzioni l’impeto cinetico si estende oltre i
moderni, nonché di esibire la propria originale tecnica di ospite del Print Studio di Harvey Littleton, pioniere della confini della tela, unendo così cielo e terra.
strappo – oggi nota come “metodo Genn”. Scuola del Vetro americana che ha ispirato un’intera
generazione di artisti, tra cui Dale Chihuly. In questo con- Le immagini di Nancy Genn sembrano emergere da un
A colpire particolarmente l’artista non sono solo le intrin- testo Nancy Genn partecipa attivamente all’elaborazione processo alchemico. Ci invitano al silenzio e alla vitale
seche qualità di resistenza, flessibilità e iridescenza della di spinte di ricerca innovative nel campo dell’incisione su riflessione sul rapporto uomo-natura. Richiedono una
carta giapponese, ma anche il ruolo che questa ricopre vetro, fino ad allora poco esplorato. Tiber (1990) ne è decelerazione, una sospensione del tempo per essere
nei riti di purificazione della tradizione buddista e scin- chiara testimonianza. percepite nella loro interezza e integrità e per venire
toista, secondo cui armonia, ritualità e bellezza devono distillate dentro di noi nei loro molteplici significati.
pervadere ogni aspetto della vita quotidiana. Non a caso Le opere del cosiddetto periodo romano, realizzate con
la carta giapponese si distingue da quella cinese, a base tecnica mista su carta, evidenziano, al di là del costante Le rarefatte architetture dei suoi paesaggi interiori tra-
di canapa, e utilizza varietà diverse di fibre come il kozo, nomadismo dell’artista, come l’esperienza dell’Italia e scendono ogni riferimento al contingente in una dimen-
ricavato dal gelso, il lucido e prezioso gampi, derivato da del Mediterraneo abbiano costituito per Nancy Genn un sione in cui tempo e spazio perdono la propria specificità,
Nancy Genn 4 Inner Landscapes 5
Nancy Genn: Thanks to her experience in Japan, Genn has been able The more recent Tideline and The Shape of Water series
Inner Landscapes to combine Eastern and Western traditions in an original
contemporary practice. Her work marks a meeting point
are experimental works in pencil and casein on paper that
suggest how water, with all its connotations, becomes
by Francesca Valente between the serene aesthetic of Japanese art and more the structural essence of the composition. In an essay,
dynamic Western modernism. “Bronze, Paper and Paint”, the artist observes how San
Francisco Bay, with its morning fog and ever-changing
Following the historic retrospective at Palazzo Ferro Fini The paper she makes by hand with meticulous creative reflection of pearly light, is embedded in the memory
in 2018 and the exhibition at Ca’ Pesaro in 2019, the work and physical commitment, becomes itself a new medium of four generations of artists in her family, including her
of California artist Nancy Genn is featured once again in of expression, abstract but never impersonal, allowing mother, daughter and grandchild.
Venice. The Marignana Arte Gallery currently presents the sensual and manual aspects of her craftsmanship to
some rare examples highlighting different phases of her emerge. From the end of the 70s to the beginning of the Genn’s mature works reveal themselves as spiritual man-
long and multi-faceted career. 90s Nancy Genn spent years in jeans and boots, sink- tras, suggesting the serenity and discipline of Eastern
ing her arms in vats of water to choose, among heaps of philosophies and cultures. The subdued color palette
Recognized as one of the most important exponents vegetable fibers, variously colored filaments, ready to be creates a sort of musical score, a well-orchestrated syn-
of post-war informal art by Michel Tapié in Morphologie processed, pressed and dried in each sheet. aesthetic composition that simultaneously engages eye
Autre, Genn is deeply connected to Italy. Resident of and ear, redefining human perception. Somehow recall-
Berkeley, in the San Francisco Bay Area, she has been The artist seems to consider her creative process a sort of ing Japanese architecture, the horizontal grid always
invited several times to the American Academy of Rome reiterated ritual, one that places technical skills and disci- lurks in the background, but color drippings on top cre-
as visiting artist. Many of her works are in permanent pline in the foreground. Thanks to this sophisticated process, ate a slow, rhythmic vertical downward movement. The
collections of important Venetian institutions and muse- paper transcends its role as a simple support. Instead, its dripping, that almost imperceptibly slides down in the
ums such as the Palazzo Fortuny and the Giorgio Cini extraordinary potential unfolds and turns from a mere flat majestic Rainbars –now in the collection of Ca’ Pesaro- is
Foundation. Recently, the Todi Arts Festival dedicated a surface into a three-dimensional embossed sculpture. This transformed into a waterfall disrupting the rigid horizon-
solo show to Genn as a tribute to Beverly Pepper, an is particularly visible in the Saratoga triptych (1985). tal orientation in Patagonia 4,7 (2014) and Yosemite
American artist of the same generation. Waterfall 3 (2016). The compelling image of the waterfall
After constantly experimenting with new artistic tech- suggests the ever present curiosity underlying the art-
The works exhibited at Marignana Arte underline how niques and materials, like the great Masters of the ist’s countless journeys and evokes the mighty energy of
Nancy Genn has, over time, mastered drawing, paint- Renaissance, Nancy Genn reached the pinnacle of vir- nature constantly renewing itself. The jet of water some-
ing, sculpture, ceramics and etching in an ever-evolving tuosity in making art paper. This discipline allows her to times gushes upward like a geyser, bursts from the inside
creative process that includes intaglio printing from glass take possession of the entire creative process, merging with regenerative and therapeutic force. In both direc-
plates (vitreography) and the making of artistic paper. painting and sculpture in a unique cross-cultural synthe- tions, the kinetic impetus extends beyond the borders
sis. The rare works from this period on view at Marignana of the canvas, thus, in a way, uniting heaven and earth.
Due to its magical quality, paper remains Genn’s pre- Arte suggest in their abstract layout of lines and colors, Nancy Genn’s images seem to emerge from an alchem-
ferred means of expression. Preceded only by Robert the three-dimensional physicality of weaving and the rar- ical process. They invite us to be in silence and reflect
Rauschenberg, with whom she exhibited in numerous efied magic of painting. on the vital relationship between humans and nature,
museums in the United States and Asia, Nancy Genn demanding a deceleration, or even a suspension in time
was among the first American artists to express herself The same bold experimental spirit is found in the origi- to be perceived in their wholeness and integrity, and to
through this medium. In 1979, in recognition of her pio- nal vitreographs made – according to a unique process be distilled within us.
neering techniques, she won a fellowship for a creative for making prints from glass plates – between 1990 and
exchange between the United States and Japan. It led 2000 at Spruce Pine, in the Blue Ridge Mountains of The rarefied architectures of her inner landscapes tran-
her to spend considerable time in the Far East with her North Carolina, where Genn was frequently a guest in scend any reference to the contingent in a dimension
husband Tom, a connoisseur and erudite interpreter of the Print Studio of Harvey Littleton. He pioneered the in which time and space lose their specificity. Past and
Japanese culture. During this period Genn visited local American School of Glass which inspired a whole gen- present converge.
paper producers in order to learn ancient and modern eration of artists, including Dale Chihuly. In this context
methods of paper-making, as well as to share her original Genn actively researched and innovated in the field of The inner world and the outer world thus become one,
tearing technique – now known as the “Genn method”. glass etching. Tiber (1990) is clear evidence of this. inspiring a serene yet passionate harmony born from an
archaic sense of wonder at the mystery of life itself.
Nancy Genn is intrigued by Japanese paper’s intrin- The works of her Roman period featured here are mostly
sic resistance, flexibility and iridescence as well as by mixed media on paper. They highlight how, in her constant
the purification rites of Buddhist and Shinto traditions, nomadism, the experience of Italy and the Mediterranean
according to which harmony, ritual and beauty should constitutes a point of essential reference. A mobile grid
pervade all aspects of every day life. Unlike Chinese is in dialogue with linear open structures forever shift-
paper, based on hemp, Japanese paper is in fact com- ing against a background that evokes the intense color
posed of fibers such as kozo, made from mulberry, or of baroque facades and the golden splendor of autumn
the shiny, precious gampi, derived from a rare wild shrub in Rome. The multiple visions emerging in the reorga-
or mitsumata, a plant that produces a soft, elastic and nization of asymmetrical planes in intertwining and
luminous fiber. overlapping levels lead us beyond the surface of things.
Nancy Genn 6 Inner Landscapes 7
Nancy Genn 8 Inner Landscapes 9 Marshfield #36, 1978 carta fatta a mano | handmade paper 63,5 × 83 cm
Nancy Genn 10 Inner Landscapes 11
Marshfield #37, 1978
carta fatta a mano | handmade paper
84,5 × 83,5 cm
Nancy Genn 12 Inner Landscapes 13 Saratoga #27, 1985 carta fatta a mano goffrata | embossed handmade paper 101 × 228 cm
Nancy Genn 14 Inner Landscapes 15
Nancy Genn 16 Inner Landscapes 17 Patagonia 7, 2014 Patagonia 4, 2014 mix media su tela | mix media on canvas mix media su tela | mix media on canvas 180 × 89 cm 180 × 90 cm
Nancy Genn 18 Inner Landscapes 19
Rainbars_15 (Blue water), 1978
carta fatta a mano | handmade paper
51 × 56,5 cmNancy Genn 20 Inner Landscapes 21 Yosemite Waterfall #3, 2016 mix media su tela | mix media on canvas 70 × 55 cm
Nancy Genn 22 Inner Landscapes 23
Nancy Genn 24 Inner Landscapes 25 Marmaris 102, 2019 Roman Sunset, 2014 mix media su carta | mixed media on paper mix media su carta | mix media on paper 58,5 × 55,5 cm 105 × 74 cm
Nancy Genn 26 Inner Landscapes 27 Summer 18, 2019 mix media su carta | mixed media on paper 46 × 40 cm
Nancy Genn 28 Inner Landscapes 29
The Shape of Water 23, 2019
mix media su cartone | mixed media on cardboard
43 × 36,5 cmNancy Genn 30 Inner Landscapes 31 The Shape of Water 24, 2019 mix media su cartone | mixed media on cardboard 44,5 × 33 cm
Nancy Genn 32 Inner Landscapes 33
Genesis Blue I-19, 2008
mix media su carta | mix media on paper
73,5 × 56,5 cmNancy Genn 34 Inner Landscapes 35
Marmaris 36, 1998-99
mix media su carta | mix media on paper
34 × 29 cmNancy Genn 36 Inner Landscapes 37 Sedona 11, 1981 carta fatta a mano | handmade paper 71 × 81,5 cm
Nancy Genn 38 Inner Landscapes 39
Nancy Genn 40 Inner Landscapes 41 Manzanita 12, 2015 Manzanita 14, 2015 mix media su carta | mix media on paper mix media su carta | mix media on paper 73,5 × 56 cm 73,5 × 56 cm
Nancy Genn 42 Inner Landscapes 43 Manzanita 1, 2015 mix media su carta | mix media on paper 73,5 × 56 cm
Nancy Genn 44 Inner Landscapes 45 Tiber, 1990 Ostia Antica, 1990 vitreografia | vitreography vitreografia | vitreography 105,5 × 74,5 cm 105,5 × 74,5 cm
Nancy Genn 46 Inner Landscapes 47
Construct Blu 2, 2003
vitreografia | vitreography
70,5 × 56,5 cmNancy Genn 48 Inner Landscapes 49 Genesis Red Spin, 2008 mix media su carta | mix media on paper 73 × 56 cm
Nancy Genn 50 Inner Landscapes 51
Nancy Genn, artista californiana di statura internazionale, Nancy Genn, a California artist of international stature, Collezioni museali | Collezioni aziendali | Premi | Awards
vive e lavora a Berkeley. Si forma alla California School lives and works in Berkeley. She studied at the California Museum Collections Corporate Collections
Visiting Artist American Academy in Rome,
of Fine Arts (ora The San Francisco Art Institute) e alla School of Fine Arts (now The San Francisco Art Institute) Achenbauch Foundation, California Palace of Alps Electric (USA) Inc., San Jose, CA 1989, 1994, 2001, 2014
University of California a Berkeley dal 1947 al 1949. Fin and the University of California, Berkeley between 1947 the Legion of Honor, San Francisco, CA Amerada Hess Corporation, New York, NY United States/Japan Creative Arts Fellowship,
dal 1960 Michel Tapié, primo teorizzatore dell’arte infor- and 1949. Michel Tapié, the first theorist of informal art, Albright-Knox Art Gallery, Buffalo, NY American Can Co., Greenwich, CT Japan-United, States Friendship Commission,
male, cita nel suo testo fondamentale Morphologie Autre included Nancy Genn in his essential text Morphologie American Craft Museum, New York, NY American Financial Corp., Cincinnati, OH 1978-1979
Auckland Museum, Aukland, New Zealand AT&T, New York, NY HUD Award for Design Excellence (U.S.
una serie di opere contemporanee di illustri artisti euro- Autre, (1960) a series of contemporary works by illustri- Brooklyn Museum, Brooklyn, NY Bank Building Corp., Cumberland, MD Dept. of Housing and Urban Development),
pei, americani, canadesi e giapponesi, collocando Nancy ous European, American, Canadian and Japanese artists, Ca’ Pesaro Galleria Internazionale d’Arte Benetton, Treviso, Italy Honor Award, 1968
Genn accanto a Carla Accardi, Alberto Burri, Giuseppe placing her next to Carla Accardi, Alberto Burri, Giuseppe Moderna, Venice, Italy Chase Manhattan Bank, New York, NY San Francisco Women Artists Exhibition –
Capogrossi, Lucio Fontana, Emilio Vedova, come pure Capogrossi, Lucio Fontana, Emilio Vedova, Sam Fran- Cincinnati Art Museum, Cincinnati, OH Coudert Brothers, Tokyo, Japan Sculpture, San Francisco Museum of Art,
Crocker Art Museum, Sacramento, CA Dean Witter, San Francisco, CA San Francisco, CA, 1964
a Sam Francis, Robert Motherwell, Louise Nevelson, cis, Robert Motherwell, Louise Nevelson, Jackson Pol- Des Moines Art Center, Des Moines, IA Fornace Orsoni, Venice, Italy Phelan Award, De Young Museum,
Jackson Pollock, Mark Rothko, Antoni Tàpies, Jean-Paul lock, Mark Rothko, Antoni Tàpies, Jean-Paul Riopelle and Fondazione Giorgio Cini, Venice, Italy Foster & Jacobs, Cincinnati, OH San Francisco, 1963
Riopelle e Atsuko Tanaka. Ottiene riconoscimenti interna- Atsuko Tanaka. In the 1970s she received wide recogni- Fresno Art Museum, Fresno, CA Gannett Co. Inc., Washington, DC Emelie Sievert Weinbery Memorial Prize –
zionali negli anni Settanta per le sue sperimentazioni con tion for her experiments with paper, exhibiting with Robert Indianapolis Museum of Art, Indianapolis, IN Golden Gateway Inc., San Francisco, CA Painting, San Francisco Women Artists
International Center of Aesthetic Research, Italy Graduate Theology Union, Berkeley, CA Exhibition, San Francisco Museum of Art,
la carta, esponendo con Robert Rauschenberg e Sam Rauschenberg and Sam Francis in nine museums in Asia, Library of Congress, Washington, DC Graphic Controls Corp., Buffalo, NY San Francisco, CA, 1962
Francis in nove musei asiatici, da Tokyo ad Hong Kong. including Tokyo and Hong Kong. She was invited as visit- Los Angeles County Museum, CA Harris Bank, Chicago, IL California Painters Exhibition – Purchase Award,
Successivamente è invitata più volte come visiting artist ing artist to Rome by the American Academy, to Turin by Mills College Art Museum, Oakland, CA Hewlett Packard, Palo Alto, CA Oakland Art Museum, Oakland, CA, 1957
all’American Academy di Roma, all’ICAR (International ICAR (International Center of Aesthetic Research), to Ven- Museum of Modern Art, New York, NY Hitachi Foundation, Washington, DC California State Fair – First prize, Sacramento,
National Museum of American Art, Washington, DC Hodgson Russ, Buffalo, NY CA, 1957
Center of Aesthetic Research) di Torino, alla Fondazione ice by the Cini Foundation (2019) on the occasion of her The New York Public Library, New York, NY Hughes Aircraft, Los Angeles, CA Trustees Awars – First prize, Kirk in the Hills
Cini (2019), in occasione della mostra a Ca’ Pesaro e a Todi exhibition at Ca’ Pesaro and most recently to Todi (2020), New York University Art Collection, NY Hyatt Regency, Buffalo, NY Art Festival, Bloomfield Hills, MI, 1955
(2020) nel contesto della prima edizione del Festival delle in the context of the first Festival of Arts dedicated to the The Oakland Museum, Oakland, CA IBM, San Jose, CA Artists Council Prize, Annual Drawing and
Arti, dedicato a Beverly Pepper. Memorabili le retrospet- memory of Beverly Pepper. Her most important retrospec- Palazzo Fortuny, Venice, Italy International Center of Aesthetic Print exhibition, San Francisco Art Association,
Portland Art Museum, Portland, OR Research, Italy San Francisco, CA, 1952
tive Planes of Light al Fresno Art Museum, California (2003) tives are Planes of Light (2003) at the Fresno Art Museum, San Francisco Museum of Art, CA International Data Group, Boston, MA Florida International Art Exhibition – Honorable
e Architecture from Within a Palazzo Ferri Fini, Venezia CA, and Architecture from Within (2018) at Palazzo Ferro Smithsonian Institution, Washington, DC International Paper Co. mention, Florida Southern College, Lakeland,
(2018). L’ultimo soggiorno nella città lagunare è legato all’in- Fini, Venice. Genn’s work is in the permanent collections Southwest State University Art Museum, Le Bow Industries, New York, NY FL, 1952
vito nel 2019, da parte della Fondazione Cini in occasione of international institutions such as MoMA and the Brook- Marshall, MN Lehman Bros., San Francisco, CA San Francisco Women Artists Exhibition – Ellen
University Art Museum, University of California, Mark Industries, Buffalo, NY Branstein Award, San Francisco Museum of
di una mostra a Ca’ Pesaro. I suoi lavori sono inclusi nelle lyn Museum in New York; the Albright-Knox Art Gallery in Berkeley, CA McCrory Corp., New York, NY Art, San Francisco, CA, 1952
collezioni permanenti di istituzioni museali quali il MoMA e Buffalo; the Los Angeles County Museum, the University University of Texas, El Paso, TX Mead Paper Co., OH
il Brooklyn Museum, New York; l’Albright-Knox Art Gallery, Art Museum of Berkeley, the San Francisco Museum of Weisman Art Museum, University of Minnesota, National Telecom, Nashville, TN
Buffalo; il Los Angeles County Museum; lo University Art Modern Art; the Library of Congress and the Smithsonian Minneapolis, MI Nordstroms, Seattle, WA
Western Carolina University Fine Art Museum, Olympic Four Seasons Hotel, Seattle, WA
Museum, Berkeley; il San Francisco Museum of Modern Museum in Washington DC; Ca’ Pesaro, Palazzo Fortuny, Cullowhee, NC Orrick, Herrington & Outcliff, San Francisco, CA
Art; la Library of Congress e il museo Smithsonian, Palazzo Ferro Fini and Fondazione Cini, Venice. A lavishly PRBO Conservation Science, Petaluma, CA
Washington DC; Ca’ Pesaro, Palazzo Fortuny, Palazzo illustrated bilingual monograph entitled Nancy Genn Archi- City of San Francisco, Hall of Justisce
Ferro Fini e Fondazione Cini, Venezia. A documentare la tecture from Within by Francesca Valente was published by San Francisco International Airport,
San Francisco, CA
sua lunga, eclettica carriera, la monografia bilingue Nancy Skira, Milan, 2018, and includes essays and appreciations Scubber, Stevens & Clark Inc., San Francisco, CA
Genn Architecture from Within, a cura di Francesca Valente by a number of internationally renowned critics. Security Pacific National Bank, Mountain View, CA
edita da Skira, Milano 2018, (143pp) raccoglie saggi e testi- Simpson Paper Co., Seattle, WA
monianze di un cospicuo numero di critici di fama interna- South Western Publishing Co., Buffalo, NY
Technimetrics, New York, NY
zionale nonché un esaustivo corredo di immagini. Travenol laboratories, Deerfield Park, IL
U.S. News & World Report, Washington, DC
Utah Construction Co., San Francisco, CA
Vesti Trust, Boston, MA
Western Electric, New York, NY
Westminster Bank, New York, NYNancy Genn 52 Inner Landscapes 53
Opere site specific Mostre personali selezionate 1994 Mostre collettive selezionate | 1997 1976
Site Specific Installations Selected Solo Show Ann Reed Gallery, Sun Valley, Idaho Selected Group Shows Prints From Glass, Portland Art Museum, The Handmade Paper, Santa Barbara
America Assoc. for Advancement of Portland, OR Museum of Art, Santa Barbara, CA
Hawlett Packard Company, Palo Alto, CA, 1984 2021 Science, Washington DC 2020 The Old New Garde, J.J. Bookings Gallery, Linda Farris Gallery, Seattle, WA
Meridien Hotel, San Francisco, CA, 1983 Inner Landscapes, Marignana Arte, Venice Together we stand!, Marignana Arte, marinaba- San Francisco,CA Susan Caldwell Gallery, New York, NY
Envirogas (dipinto murale | wall mural), 1993 stianellogallery, Galleria Michela Rizzo, Venice Works on Handmade Paper, Museum of
Buffalo, NY, 1982 2020 Brendan Walter Gallery, Los Angeles, CA 1995 Modern Art, New York, NY
Expo ’74, (fontana bronzo | bronze fountain), Consonance, Todi Art Festival 2019 New York Collection 1995 Albright-Knox Gallery,
Spokane, WA, 1972-74 1992 I dreamed a dream – Chapter 1, Marignana Arte, Buffalo, NY 1975
Sterling Vineyards (fontane in bronzo, pavimenti 2019 Flora Lamson Hewlett Library, UC Berkeley, Venice Transparent Motives, New Orleans Museum of Art Contemporary Graphics Center,
e muri in ceramica | bronze fountains, ceramic Architecture from Within, Ca’ Pesaro, Venice Berkeley, CA Ideal Types – Chapter 2, Marignana Arte, Venice at Louisiana State University, New Orleans, LA Santa Barbara Museum of Art, CA
tile walls and floors), Calistoga, CA, 1972-74 Brendan Walter Gallery, Los Angeles, CA FINI&CONFINI. Dal Paesaggio al Territorio. Prints California, The Oakland Museum,
Temple Beth Am (menorah di bronzo | menorah 2018 Opere da una collezione privata, Museo del 1994 Oakland, CA
bronze), Los Altos Hills, CA, 1968 Architecture from Within, Palazzo Ferro Fini, 1990 Paesaggio, Torre di Mosto San Francisco Women Artists Celebrates 100 Years
Peninsula Hospital and Medical Center Venice Richard Iri Gallery, Los Angeles, CA of Bay Area Artist, San Francisco, CA 1974
(scultura di bronzo | bronze sculpture), Living Painting, Marignana Arte project room, 2018 Contemporary Graphics Center,
Burlingame, CA, 1968 Venice 1987 Generations, Marignana Arte, Venice 1993 Santa Barbara Museum of Art, CA
Cowell College, University of California Galleria 9 Colonne/Spe, Bologna, Italy Liberty Arts Gallery. Breakfast Group on the New York Selection, Albright-Knox Art Gallery, Susan Caldwell Gallery, New York, NY
(fontana in bronzo | bronze fountain), 2016 Road Yreka, CA Buffalo, NY 1993
Santa Cruz, CA, 1966 Vessel Gallery, Oakland, CA 1986 Richmond Art Center, Small Works, Richmond, CA Breaking Traditions, Museum of University of 1973
Pine Terrace (scultura in bronzo | bronze Ivory/Kimpton Gallery, San Francisco, CA California at Blackhawk, Danville, CA San Francisco Printmakers, The Cincinnati
sculpture), San Francisco, CA, 1963 2015 2017 Art Museum, Cincinnati, Ohio
First Unitarian Church (4 bronze candlesticks | Carl Cherry Center for the Arts, Carmel, CA 1984 Waterlines New Museum Los Gatos, CA 1992
4 candelieri in bronzo), Berkeley, CA, 1961 Andrew Crispo Gallery, New York, NY Pacific Prints, Pacific Art League of Palo Alto, 1971
Wooster, Bernardi and Emmonds Architects, 2013 Ivory/Kimpton Gallery, San Francisco, CA 2014 Palo Alto, CA Contemporary American Prints and Drawings,
Berkeley, CA, 1961 Vessel Gallery, Oakland, CA Richmond Art Center, Breakfast Group, Half San Francisco Museum of Art, San Francisco, CA
General Steamship Company (dipinto murale | 1983 a Century of Java and Jive, Richmond, CA 1990 Sculpture, San Francisco Museum of Art, San
wall mural), San Francisco, CA, 1961 2012 Kala Institute Gallery, Berkeley, CA East Bay Abstraction Harcourts Modern and Francisco, CA
University of California, Santa Cruz, Cowell College 2013 Contemporary Art, San Francisco, CA
1981 Carl Cherry Center for the Arts, Breakfast Group 1965
2011 Susan Caldwell Gallery, New York, NY on the Road, Carmel,CA 1986 Art in Religion, Museum West, San Francisco, CA
Sanchez Art Center, Pacifica Center for the Arts, Linda Farris Gallery, Seattle, WA First International/Biennale of Paper, Leopold- San Francisco Collector, M. H. De Young
Pacifica, CA 2012 Hoesch Museum, Duren, W. Germany Museum, San Francisco, CA
1980 Vessel Gallery, Charting the Waters, Oakland, CA Art Across America, San Francisco Museum of Art,
2010 Inoue Gallery, Tokyo, Japan 1985 San Francisco, CA
Sagan Piechota, San Francisco, CA 2010 Berkeley Printmakers, Berkeley Art Center,
1978 Berkeley Art Center, Group Show, Berkeley, CA Berkeley, CA 1963
2008 Annely Juda Fine Art, London, England Prints Byte; The Cutting Edge of Printmaking, Transliteration: The Pacific Interchange, San Jose Images of Woman, The Oakland Museum,
05 Flatfile Galleries, Chicago, IL SOMARTS Gallery, San Francisco, CA State of Contemporary Art, San Jose Oakland, CA
1977 New Images of San Francisco, M. H. De Young
2004 William Sawyer Gallery, San Francisco, CA 2008 1984 Museum, San Francisco, CA
Instituto Italiano di Cultura Chicago/ Distinguished Women Artists: ’88-’06, Paperworks: A National Invitational, Cheney Cowles
The Art Institute of Chicago, IL 1976 Fresno Art Museum, Fresno, CA Memorial Museum, Spokane, WA 1962
Istituto Italiano di Cultura, Los Angeles, CA Los Angeles Institute for Contemporary Art, S.O.F.A. Flatefilegalleries, Chicago, CA Drawings: West Coast America, Auckland City Art
LA, CA 1983 Gallery, Aukland, New Zealand.
2003 2007 Seoul/San Francisco: Prints and Drawings, Korean
Fresno Art Museum, Fresno, CA 1971 The Gyeonggi Art Center, Peong Tek, South Korea National Art Center, Seoul, Korea 1960
Bolinas Museum, Bolinas, CA The Oakland Museum, Oakland, CA Winter Invitational, California Palace Legion of
Takada Gallery, San Francisco, CA John Bolles Gallery, San Francisco, CA 2006 1982 Honor, San Francisco, CA
Magnolia Editions: Woven Transcriptioons Elegant Miniatures from San Francisco and Japan,
2002 1970 The Belgium Tapestries, Fresno Art Museum, Kyoto, Japan 1958
Ulivi Gallery, Prato, Italy Richmond Art Center, Richmond, CA Fresno, California Art Association Member’s Show, California
Reflections on a Legacy: Vitreographs from 1978 Palace Legion of Honor, San Francisco, CA
2000 1966 Littleton Studios”, Turchin Center for the Visual Paper as Medium, Smithsonian Institution Traveling
Takada Gallery, San Francisco, CA Cowell College Gallery, UCSC Arts:Appalachian State University, Boone, NC Exhibition Service Cast Paper, Pratt Graphics 1957
Leighton Gallery, Blue Hill, ME Center, New York, NY Annual Exhibition: California Painters,
1963 2005 White Paper I, UCSC The Oakland Museum, Oakland, CA
1999 M. H. De Young Museum of Art, Eighteen Profiles:Distinguished Women Artists of Painting and Sculpture Today, Indianapolis Museum,
Takada Gallery, San Francisco, CA San Francisco, CA California, Fresno Art Museum, Fresno, California Indianapolis, Indiana 1955
Mills College Art Museum, Oakland, CA Twentieth Century Drawings, Stanford Art Gallery,
1960 2003 1977 Stanford University, Stanford, CA
1997 David Cole Gallery, San Francisco Master Paintings and Woodcuts William Whipple Susan Caldwell Gallery, New York, NY Annual Watercolor Exhibition of the San
Michael Petronko Gallery, New York, NY Gallery SouthWest State University, Marshall, MN Art Today, Brooks Memorial Art Gallery, Memphis, TN Francisco Art Association, San Francisco
Drawings, Linda Farris Gallery, Seattle, WA Museum of Art, San Francisco, CA
1996 2002 New Ways with Paper, National Collection of Fine S.E.C.A. Board Selection Show, San Francisco
Harcourts Gallery, San Francisco, CA Five Women Artist, Four Generations, One Arts, Smithsonian Institute, Washington, DC Museum of Art, San Francisco, CA
Family, DL Gallery, Seoul, South Korea
The Elements of Geometry Monique Goldstrom
Gallery, New York, NYNancy Genn 54 Inner Landscapes 55
Conferenze | Lectures Bibliografia | Bibliography 1994 1978 1963
Nancy Genn. Ketchum: Anne Reed Gallery Blandori, Caroline Hall and Ives, Allison C. Personal calligraphy evident in recent works
2019 2021 (Introduction) Cast Paper. New York: of Nancy Genn, Vallejo Times Harald
Ca’ Pesaro, Venice, IT Valente Francesca, Inner Landscapes, 1991 Pratt Graphics Center, Pratt Institute Smith, Paul J (introduction) Creative casting.
Marignana Arte, Venice Genn, Nancy. (Introduction) Planes of Light. Burn, Guy, Paul Rotterdam: Nancy Genn, New York museum of contemporary crafts
2014 San Francisco: Harcourts Modern and Arts Review Wallace, Dean, Misty Mountains.. and fences,
Town and Gown, Berkeley, CA 2020 Contemporary Art Heller, Jules, Paper-Making. New York: San Francisco Examiner
De Chirico Domenico, I dreamed a dream, Watson-Guptill 5 painters get Phelan Awards, San Francisco
2002 Marignana Arte, Venice 1988 Quantrill, Malcolm, London Letter, Art Examiner
Century Club, San Francisco CA Worthington, Robin, Paper-Makers create pulp Internationa
2019 art, San Jose Mercury News, San Jose, CA Yassin, Robert A., Painting and Sculpture 1960
1999 Barbieri Elsa – Cramerotti Alfredo. Ideal Types 1986 Today. Indianapolis Museum of Art Tapies, Michel, Morphologie Autre, International
Mills College Art Museum, Oakland, CA (Chapter 2), Marignana Arte, Venice Winter, David. San Francisco: Nancy Genn, Center of Aesthetic Research, Torino
Ivory/Kimpton, Artnews, vol. 85 1977
1980 2018 Flint, Janet, A new ways with paper, Washington
American Center, Kyoto, Osaka, Nagoya, JP Bignotti Ilaria. Generations – Living Painting, 1984 D.C.: National Collection of Fine Arts,
Tottori Prefectural Museum, JP Marignana Arte, Venice Farmer, Jane M. Nancy Genn, Paper Paintings. Smithsonian Institution
Fukui Prefectural Museum, JP Valente Francesca. Nancy Genn: Architectur f New York: Andrew Crispo Gallery McDonald, Robert, Genn and Al-Hilali – Works
rom within, Skira, Venice Nancy Genn. San Francisco: Ivory/Kimpton Gallery on paper, Artweek
1979 Bignotti Ilaria. W.W.W. - What Walls Want, Rubin, David S. (introduction) Paper Art.
Fresno Arts Center, Fresno, CA Marignana Arte, Venice 1983 Claremont: Long Art Gallery, Scripps College
San Francisco Museum of Modern Art, CA East and West: an Exchange Exhibition of Prints Tarzan, Deloris, Nancy Genn grows. Fryett
Cowell College, University of California, 2017 and Drawings, Korean Culture, Los Angeles flowers, Seattle Times
Santa Cruz, CA Atkins Robert. A Tale of Two Houses, Modern Kyung-Sung, Lee. Seoul/San Francisco: Prints and Zimmer, William, Nancy Genn/Tony
International House of Japan, Tokyo, JP Magazine, New York Drawings. Seoul: Korean National Arts Center Vanderperk, Arts Magazine, New York
Paper as Image. London: Arts Council
1977 2011 of Great Britain 1976
Smithsonian Associates, Smithsonian Institution, Pritikin Renny, Japanese Genn-etics in Mining the Saint-Gilles, Amaury. Art: People and Places, Ballatore, Sandy, Curatorial consideration
Washington D.C. Cracks, Drips and Markings, Pacifica: Pacifica Mainichi Daily News, Tokyo in Nancy Genn, John Okulick, Jack Scott,
San Francisco Art Institute, San Francisco, CA Center for the Arts, Sanchez Art Gallery Leo Valledor, Los Angeles Institute of
University of Washington, Seattle Regev Hanna. Raibars in Mining the Cracks, Drips 1982 Contemporary Art
and Markings, Pacifica: Pacifica Center for the Former, Jane M. New American Paperworks. Bourdon, David, Pulp artists Paper MoMA,
1976 Arts, Sanchez Art Gallery San Francisco: World Print Council The Village Voice, New York
Linda Ferris Gallery, Seattle, WA Findsen, Owen. Plenty Paper but no Canvas in Kubiak, Richard, (introduction) The handmade
2004 local show, Philadelphia Inquirer, Philadelphia paper object. Santa Barbara Museum of Art
1975 Casadio Francesca - Valente Francesca. Perrault, John, Paperworks, American Craft Rosenthal, Adrienne, Art that emphasizes
Sonoma State University, Rohnert Park, CA Nancy Genn. Chicago: Istituto Italiano Smith, Paul J. Making paper in Papermaking Physicalty, Artweek, Castro Valley
di Cultura / The Art Institute USA: History, Process, Art. New York: Tarzan, Deloris, Paper is oldest and newest
American Craft Museum art form, Seattle Times
2003 Busch, Akiko. Handmade Metropolis, New York
Genn Nancy. Bronze, paper and paint in Proust, 1975
Pickles and Paychecks: Fourteen San Francisco 1980 Frankenstein, Alfred, The show of the week,
Women tell their stories, editet by Rosemary Adachi, Barbara C. Unique Paper Art Exhibit, San Francisco Chronicle
Patton. McKinleyville: Fithian Press, 2003 Mainichi Daily News, Tokyo Fried, Alexander, Exhibit made of paper,
Munro Donald. The spirit of Light, The Fresno Bee, Brody, Jackie. Nancy Genn, The print collector’s San Francisco Examiner, San Francisco
Fresno newsletter Tarshis, Jerome, Designed Merriment, Elegant
Pilar Jacqueline. Nancy Genn: Planes of Light. Smith, Debbie. Artists uses material, methods disquiet, Art News, October
Fresno: Fresno Art Museum in New Ways, Asahi Weekly, Tokyo
Soteriou, Alexander, Fire and Water 1974
2002 Thoren, Barbara, The Week in Art Art in architecture – Winery of Calistoga,
Billi Giuseppe. Il sogno americano di Nancy Genn. Craft Horizons
Prato: Autumn Press, Galleria d’arte moderna e 1979 Tarzan, Deloris, Nancy Genn takes Veils,
contemporanea Ulivi Blair, Eileen, At the galleries, The Villager, Bronze in equal stride, Seattle
New York
2000 Fire and Water, Paper as Art: the visionary’s 1973
Celbulski Frank, Nancy Genn: A Thirty Year tool for transformation. West Nyack: Rockland Aldrich, Larry, (introduction) Contemporary
Profile, Artweek Center for the Arts Reflections: Second Annual. Ridgefiel:
Flint, Janet A. New Ways with Paper, The Fresno The Aldrich Museum of Contemporary Art
1999 Bee, Fresno, CA
Crum Katherine B. The Art of Nancy Genn. Hale, David, Nancy Genn demonstrates Art of 1971
Oakland: Bookle, Mills College Art Museum Painting with paper, The Fresno Bee, Fresno, CA Bloomfield, Arthur, Artistic Fresh Air,
Heller, Jules, Paper as Art: a Contemporary San Francisco Examiner
1997 Gallery, in Paper – Art and Technology.
Nixon Bruce. Touched by Light: Recent paintings by San Francisco: The World Print Council 1970
Nancy Genn. New York, Michael Petronko Gallery Smith, Debbie. Nancy Genn, Papermaker, Cross, Miriam Dungan, Versatile Show
Asahi Evening News, Tokyo in Richmond, Oakland Tribune
1996 Farmer, Jane M. Paper as a Medium. Washington
Nancy Genn. San Francisco: Harcourts Gallery D.C.:Smithsonian Institution Travelling
Exhibition ServiceINNER LANDSCAPES MARIGNANA ARTE
Nancy Genn
Direzione | Directors
17.04 – 24.07.21
Emanuela Fadalti, Matilde Cadenti
Opere di | Works by Assistente | Gallery assistant
Nancy Genn Silvia Lattuada
A cura di | Curated by
Dorsoduro 141
Francesca Valente
Rio Terà dei Catecumeni
Assistente alla curatela | Assistant curator 30123 Venezia – Italia
Giulia Boccianti
www.marignanaarte.it
Testi | Texts info@marignanaarte.it
Francesca Valente t +39 041 52 27 360
Foto | Photo
Copertina | Cover
Silvia Longhi
Ostia Antica, 1990, dettaglio | detail
Traduzioni | Translation
Interno copertina | Inside Cover
Susan Wise
Nancy Genn, Marmaris 102, 2019,
Impaginazione | Layout dettaglio | detail
bruno, Venezia
Stampato da | Printed by © 2021 Gli autori per i testi e le immagini |
Grafiche Veneziane, Venezia The authors of the texts and images
© 2021 Marignana Arte. Tutti i diritti sono riservati.
500 copie | copies
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