![]() At this time, MoMA produced video cannot be licensed by MoMA/Scala. ![]() MoMA licenses archival audio and select out of copyright film clips from our film collection. If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations). Publication excerpt from MoMA Highlights: 375 Works from The Museum of Modern Art, New York (New York: The Museum of Modern Art, 2019) “I want to eliminate the ‘I made this’ from my work,” he declared. Unlike the Abstract Expressionists, however, Kelly resolutely suppressed the presence of painterly gesture. Produced at the height of Abstract Expressionism, this work has that style’s mural scale, and Kelly thought deeply about the relationship of painting to architecture: he saw it as one of figure and ground, with the wall as background and the painting as a figure set upon it. ![]() While there he began introducing elements of chance into his compositions, one of several strategies he deployed to create what he called “anonymous” works. ![]() Kelly made Colors for a Large Wall while living in Paris, where he worked from 1948 to 1954. Not even the colors themselves, or their position in relation to each other, could be called personal Kelly derived them from commercial colored papers, and their sequence is arbitrary. “I have never been interested in painterliness,” Kelly said, using “painterliness” to mean “a very personal handwriting, putting marks on a canvas.” There is no personal handwriting, nor even any marks as such, in Colors for a Large Wall, which comprises sixty-four abutting canvases, each the same size (a fraction under a foot square) and each painted a single color. ![]()
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