This work belongs to the period of Abstract Expressionism, but while Abstract Expressionism was happening in the US, in Europe there was a similar version of it called Art Informel. This movement was the one Carla Accardi joined since the beginning of her career, even though she integrated it with her personal view on art and her taste.

More specifically, she added signs: all those white shapes on the black canvas make an abstract painting, but individually they recall Oriental calligraphy, Asian or Arabic. Probably the Arabic influences were very vivid in Accardi’s practice, since she was coming from Sicily, Italy, a region full of Arabic architecture and culture in general.
The title of Great Integration probably refers to the contrasts that this painting carries within itself: black and white, signs and black void, light and darkness, chaos and quietness, positive and negative. The dynamism that this painting shows is obtained thanks to the juxtaposition of the signs and their curved shapes.

But there is something more: we have to take into account that Accardi was a convinced feminist, so much that in the ’90s she founded the group “Rivolta Femminista” (Feminist Uprising) in Italy. This can let us think that her work had some political implications as well, and the title Great Integration can have a meaning on this side too. 


Bibliography and further readings:

CELANT Germano, Carla Accardi: Catalogue Raisonne, Silvana, 2010

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