<<Il vuoto dietro e il vuoto davanti>>. Oltre l’italianità e l’americanismo: la rotta Roma-New York nell’esperienza di Afro, Alberto Burri e Toti Scialoja
During the Fifties the relationships between Rome and American artistic environment has grew fastly. They were prepared by some individual experience, like that one of Corrado Cagli, that lived in the United States for about ten years, and they arose from a new interest by American galleries and institution, following the seminal XX Century Italian Art exhibition at the MOMA in 1949. Just after that show, new galleries like Catherine Viviano and Stable Gallery in New York, or Allan Frumkin in Chicago, started to present Italian artists. Afro and Burri were among the first to gain a new position in American critics, collectors and museums. From his side, Scialoja showed a profound interest in reflecting about new American painting. The three artists, having maintained autonomous ways in postwar Italian debate, confront themselves with the new forms of international modernism in the perspectives of New York School, getting their specific and different solutions of realizing new forms of painting.