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novembre 20, 2017
novembre 20, 2017

P hilip Taaffe born in Elizabeth, New Jersey in 1955, lives and works in New York, and West Cornwall, Connecticut.

He has traveled widely in the Middle East, India, South America, and Morocco, where he collaborated with Mohammed Mrabet on the book Chocolate Creams and Dollars, translated by Paul Bowles (Inanout Press, New York: 1993). Taaffe lived and worked in Naples from 1988-91. During his travels he discovered different cultures and realities of which we find an echo in the intricate vegetation, in the rigorous geometries and colors that animate his canvases.

Really peculiar artworks based on the paper marbling technique that imitates a marble surface thanks to the use of oil colors and the repetition of a pattern composed by infinite symmetries that make it hypnotic.

He has been included in numerous museum exhibitions, including the Carnegie International, two Sydney Biennials, and three Whitney Biennials. In 1990 his work was the subject of an extensive critical study in Parkett no. 26 (Zurich & New York).

"Taaffe appropriates cultures, stories and symbols from all cultures, from all over the world, from all ages, internalizes them, re-composes them by composing a personal and distinctive language that overcoming every cultural, geographical and historical barrier becomes all the effects a universal language. Before globalization, Taaffe had already created a transcultural, transnational, transumanist language"


His work is in numerous public collections, including the Museum of Modern Art, New York; the Philadelphia Museum of Art; the Whitney Museum of American Art; and the Reina Sofia, Madrid. In the year 2000, the IVAM museum in Valencia organized a retrospective survey of his work, with contributions by Enrique Juncosa, Robert Rosenblum, and Robert Creeley.

In 2001 an extensive survey of his work was presented by the Galleria Civica of Trento, Italy (with texts by Vittoria Coen and Francesco Pellizzi). In 2004 the Galleria d’Arte Moderna in San Marino (Italy) presented a survey of paintings and drawings based on the artist’s explorations with floating pigments and the paper marbling process, accompanied by the Skira publication, Carte annuvolate (Cloud Papers) with essays by Peter Lamborn Wilson and John Yau.

In 2008 the Kunstmuseum Wolfsburg organized a retrospective survey, The Life of Forms in Art: Paintings 1980-2008, with a publication by Hatje Cantz, featuring contributions by Markus Brüderlin, Holger Broeker, Kay Heymer, and Brooks Adams.