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Piero Manzoni1957Yves KleinMonochromesAchromes
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When Piero Manzoni saw Yves Klein’s blue Monochromes in 1957, the pictures suggested to Manzoni the potential for creating self-contained work that was more than a mere record of existential angst. Manzoni sought to discard narrative and emotional content from painting by abandoning color. His Achromes were conceived not as white paintings but as acts of negation: blank, neutral surfaces stripped of all allusion, metaphor, and representation. For works such as this one, Manzoni developed a novel technique: he dipped canvas in liquid white china clay, situating the medium between painting and sculpture. This work reflects the goal shared by other ZERO artists to downplay or even remove evidence of the artist’s hand: he simply allowed the canvas to dry, accepting the resulting wrinkled and bunched formations.