CRITICAL ANTHOLOGY Giulio Carlo Argan
CRITICAL ANTHOLOGY Giulio Carlo Argan, Giovanni Maria Accame, Cristina Acidini, Mariano Apa, Mirella Bandini, Carlo Belloli, Paolo Bolpagni, Mirella Branca, Vanni Bramanti, Anna Brancolini, Carmine Benincasa, Luciano Caramel, Ornella Casazza, Claudio Cerritelli, Bruno Corà, Roberto Cresti, Giorgio Cortenova, Enrico Crispolti, Fabrizio D’Amico, Roberto Daolio, Angelo Dragone, Luigi Paolo Finizio, Alberto Fiz, Paolo Fossati, Francesco Gallo, Roberto Luciani, Mario Luzi, Marco Marchi, Luciano Marziano, Lara Vinca Masini, Marco Meneguzzo, Fernando Miglietta, Bruno Munari, Antonio Paolucci, Sandro Parmiggiani, Elena Pontiggia, Pierre Restany, Davide Rondoni, Maria Luisa Spaziani, Carmelo Strano, Claudio Strinati, Toni Toniato, Tommaso Trini, Marcello Venturoli, Stefano Verdino, Cesare Vivaldi. LARA VINCA MASINI 1977 An operation like the one Paolo Gubinelli has conducted for several years now, in which it has gained precision and character, is clearly posed as the acquisition of contemporary culture in the area of an increasingly more “reductive” exploration, on light, space and structure. I refer to the line of exploration, defined as “analytical” which, starting out from the proposals of space-light-colour in the luminous dynamics of the atmosphere, already expressed in Balla’s “iridescent permeations,” was conducted bypassing — without ignoring it — the entire European abstract-geometric moment. Retrieved after World War II, it divided into two major veins — that of Europe and that of America — perhaps on the basis of the European-American work of Albers. It gave rise, on one hand, to neo-concretism (with all its dilations and processes), arriving to the recent studies of “reflection on painting” and of “analysis on means” (from Fontana to Castellani to Dorazio, from Gaul to Griffa to Support Surface...), while on the other hand, it gave rise to what has been defined as the “cold line,” “opaque painting,” or American “analytics” which recalls Stella, Newman, Reinhardt and arrives, with constant reciprocal filtering, to Agnes Martin, Dorothea Rockburne..
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