Opuscoli Di Ricerca Verbo Visuale
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Fine Printing & Small Presses A
Fine Printing & Small Presses A - K Catalogue 354 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request. -
Poetry and the Visual in 1950S and 1960S Italian Experimental Writers
The Photographic Eye: Poetry and the Visual in 1950s and 1960s Italian Experimental Writers Elena Carletti Faculty of Arts and Social Sciences The University of Sydney A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy 2020 This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. I acknowledge that this thesis has been read and proofread by Dr. Nina Seja. I acknowledge that parts of the analysis on Amelia Rosselli, contained in Chapter Four, have been used in the following publication: Carletti, Elena. “Photography and ‘Spazi metrici.’” In Deconstructing the Model in 20th and 20st-Century Italian Experimental Writings, edited by Beppe Cavatorta and Federica Santini, 82– 101. Newcastle upon Tyne: Cambridge Scholars Publishing, 2019. Abstract This PhD thesis argues that, in the 1950s and 1960s, several Italian experimental writers developed photographic and cinematic modes of writing with the aim to innovate poetic form and content. By adopting an interdisciplinary framework, which intersects literary studies with visual and intermedial studies, this thesis analyses the works of Antonio Porta, Amelia Rosselli, and Edoardo Sanguineti. These authors were particularly sensitive to photographic and cinematic media, which inspired their poetics. Antonio Porta’s poetry, for instance, develops in dialogue with the photographic culture of the time, and makes references to the photographs of crime news. -
Claes Oldenburg and Coosje Van Bruggen
CLAES OLDENBURG AND COOSJE VAN BRUGGEN SELECTED BIBLIOGRAPHY BOOKS AND EXHIBITION CATALOGUES 2017 The Art Museum. London: Phaidon, 2017: 386, illustrated. Claes Oldenburg: Shelf Life (exhibition catalogue). Text by the artist. New York: Pace Gallery, 2017. Baum, Kelly, Lucy Bradnock, and Tina Rivers Ryan. Delirious: Art at the Limits of Reason, 1950–1980 (exhibition catalogue). Metropolitan Museum of Art, 2017. Delirious: Art at the Limits of Reason 1950–1980 (exhibition catalogue). Texts by Kelly Baum, Lucy Bradnock and Tina Rivers Ryan. New York: Met Breuer, 2017: pl.79, illustrated. Haywood, Robert E. Allan Kaprow and Claes Oldenburg: art, happenings, and culture politics, 1958-1967. New Haven: Yale University Press, 2017. Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965 (exhibition catalogue). New York and Munich: Grey Art Gallery, New York University; Delmonico Books Prestel, 2017: 128–31, 208–13, illustrated. Martin Z. Margulies Collection, Vol.1. Bologna BO, Italy: Damiani, 2018: 122–124, illustrated. Rosa, Joseph, ed. Victors For Art: Michigan’s Alumni Collectors (exhibition catalogue). Text by Kathryn A. Huss. Michigan: The Regents of the University of Michigan, 2017: 57, illustrated. Claes Oldenburg and Coosje van Bruggen: Selected Bibliography—Books 2 UBS Art Collection: To Art Its Freedom. Text by Mary Rozell. Berlin: Hatje Cantz Verlag CmbH, 2016: 106, illustrated. 2016 “Claes Oldenburg.” In Donald Judd Writings. New York: Judd Foundations, 2016: 180–4. Cohen, John. Cheap Rents…and de Kooning. Text by John Elderfield. Göttingen: Steidl, 2015: 131, illustrated. The Fisher Collection at the San Francisco Museum of Modern Art. San Francisco: San Francisco Museum of Modern Art, 2016: 25–31, illustrated. -
Artist Books
anntiqdm publicatiom of the Avant Gardes of the 20b ARTIST BOOKS centwy, focusing on the sides and seventies: concept, minimal, land art, meIpovera, happe~ngsmd flm, maill NEWS art, pop art, Vienna Aho~sm,Situationism, Dada, Sumedisrm, ek. PnclualeB Specid representa~oasof sontemporsaay book art aa8 tbe Rmcha, Gerkard Wichkr, Si 52"* FranMw& Book Fair, 18 - 23 October 2080. For the %chard Tuttle, J.L. Byas, M. first time in its history, Fair will provide Eva Messe, DoddJudd, Carl Andre, George Brecht,Daniel a special forum for c art in Wle 3.1, Sprri, Andy Warhol, Dieter RotHa, Jackson Pollock, Bill which will become "Book Art Square7', a place where the Bollinger, Lee Bontecw etc. Searches can be made from the pubEc will enjoy an indep& view of the world of field of Visual Ant Collwtiom, e~bitionpaactice and letterpress-pBinted works, painters' books, a.x%slg books and theory, monographs and especially ephemera, underg~ound book objects. This eve and related materid. Contact Peter Below, lhrt Base. BucNDmcMKunst Inc in Support of Contemnporary The town of Mells in County Meath, Ireland is exerting Contemprary Book Art", an errPlibition ofworld-wide book increasingpressme to be allowed to exhibit the renowned art, "Book Art News Fonun," an overview of offerings from Book of Kells at its supposed place of origin. They are nearly 75 presses and book artists from 14 Merent to bansfom a local codouse into an exhibit hail countries; "One Hundred Words from the 20" century," the book and is considering legal action if its showcasing original examples ofthe ways in which book art request to obtain the work on loan is rehsed by Trinity can interpret text Wo~pXcdly.In addition there will College Dublin, where the Book of Kells lhas resided since be7'Internatiod Book Art'' and "The MstBeautihl Books the 17" century. -
Literary Miscellany
Literary Miscellany Chiefly Recent Acquisitions. Catalogue 316 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are considered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering, and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inventory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request. -
Arengario-2019-Poesia-Visiva-Web
1 Bruno e Paolo Tonini. Fotografia di Tano D’Amico L’ARENGARIO Via Pratolungo 192 STUDIO BIBLIOGRAFICO 25064 Gussago (BS) Dott. Paolo Tonini e Bruno Tonini ITALIA Web www.arengario.it E-mail [email protected] Tel. (+39) 030 252 2472 Fax (+39) 030 252 2458 2 3 L’ARENGARIO STUDIO BIBLIOGRAFICO POETICHE DELL’AVANGUARDIA IN ITALIA La pratica del testo nella civiltà dell’ immagine (poesia lineare - tecnologica - visiva - romanzo sperimentale) 1956 - 1981 Nota introduttiva di Lamberto Pignotti Catalogo della mostra Brescia, 17.2. Art Gallery 30 marzo - 14 aprile 2019 EDIZIONI DELL’ARENGARIO 2 3 Nota sull’uso del catalogo Poetiche dell’avanguardia in Italia si inaugura il 30 marzo 2019 presso la 17.2 Art Gallery di Brescia. Le opere e i docu- menti in mostra non sono oggetti da contemplare o da interpretare sulla scorta di chi sa che studi critici. Nella loro stra- nezza e nella evidenza che li assimila alla vita di ogni giorno come all’esperienza di ciascuno, chiedono partecipazione. Sono mezzi di comunicazione diversi dai mass media: non trasmettono un messaggio, ci chiamano a farne parte. Così il catalogo che li raccoglie non è soltanto un elenco con i prezzi, è uno strumento per orientarsi. Non offre risposte, è un aiuto a porsi le giuste domande. Abbiamo ancora bisogno di poesia? Chiediamolo a quelli che oggi non hanno ancora diciotto anni. Nei loro smart phone c’è più poesia che non nelle odiose riesumazioni scolastiche. Chiediamolo a loro che quando ne vengono toccati si ac- corgono che non cercavano altro e che devono cambiare la vita prima che la vita li cambi. -
Eugenio Montale and the Literature of the Sixties: Intertexts for Satura And
Eugenio Montale and the Literature of the Sixties: Intertexts forSatura and the Later Poetry John Clifford Butcher University College London Submitted for the Degree of PhD ProQuest Number: 10015796 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10015796 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract This thesis sets out to explore the significant impact that poetry, fiction and essays published in the Sixties had on the development of Eugenio Montale’s later poetry. The primary focus is Satura (1971) but space is also accorded to Montale’s ensuing four collections,Diario del ’71 e del ’72 (1973), Quaderno di quattro anni (1977), Altri versi (1980) and Diario postumo (1996). The first part of this study delves into the role played by contemporary literature in that ‘svolta’ that took place with the composition of the ‘Xenia’ {Satura). Amongst those texts mentioned are an Italian translation of verse by William Carlos Williams and Natalia Ginzburg’s Lessico famigliare. The second part of this thesis deals with those works that helped effect the grand shift from the poetic mode of the ‘Xenia’ to that of ‘Satura T and ‘Satura IT (the final two sections ofSatura). -
Action Poetry in Italia, Pubblicato in “Territori”, N° 12, Settembre 2001
Action Poetry in Italia, pubblicato in “Territori”, n° 12, settembre 2001. ISSN 2284-0540 Giovanni Fontana ACTION POETRY Il corpo in azione nello spazio della ricerca poetica performativa 1. Parole sui muri e corpi d’artista Grazie all'iniziativa di un artista, Claudio Parmiggiani, e alla complicità di un Sindaco amante del nuovo, Mario Molinari, nel mese di agosto del 1967 viene scritta una interessante pagina d'arte. Si trattava di "Parole sui muri", un festival che vede un piccolo centro dell'Appennino modenese, Fiumalbo, letteralmente occupato da un centinaio di artisti italiani e stranieri che ne impegna gli spazi con installazioni, sculture, grandi poster di poesia, slogan sulle case, parole sugli alberi, nuova segnaletica urbana (un cartello di Ketty La Rocca indica il "senso di responsabilità"); ma lo spazio è presidiato anche con voci, suoni e azioni poeticamente sottolineate da lanci di mongolfiere. Sarenco (al secolo Isaia Mabellini, allora giovane leva della “poesia visiva”) ricorda che le performance di Fiumalbo "divennero vere e proprie prove pre-rivoluzionarie. Il clima era incandescente e altamente provocatorio".1 Trasformato per l’occasione in uomo-sandwich, egli si ribattezza "body poem" e, analogamente, F. Tiziano (alias Tiziano Spatola, fratello di Adriano) porta sul petto la scritta "Io sono una poesia". In quei giorni, tutti gli artisti presenti alla manifestazione decidono di rendere omaggio alla figura di Piero Manzoni, scomparso prematuramente quattro anni prima, riprendendo un suo gioco-esperimento: chi entra in un cerchio dipinto nella piazza principale del paese è dichiarato opera d'arte permanente, con un attestato numerato e firmato dal sindaco. -
Sapienza Università Di Roma Il 1960 È Dichiarato Dalle Nazioni Unite L'anno Dell'africa, Anche Alla Luce Del Raggiungiment
Sapienza Università di Roma The article explores the presence of anticolonial struggles and new forms of colonialism in Italian visual poetry between the 1960s and the 1970s. An analysis of works by Ketty La Rocca, Lucia Marcucci, Eugenio Miccini, Luciano Ori and Adriano Spatola reveals not only the pervasive presence of the Vietnam War – during which the United States became a real emblem of imperialism – but also a more articulated geography of the struggles for liberation, both in Africa and in Latin America. Visual poets, in fact, were able to combine research on expressive languages with ideological commitment: the deconstruction of the codes of commercial and mass communication leads to political criticism, even internationally. Guerrilla is not only a linguistic approach: it has also evident political content, with strong internationalist significance. Gruppo 70, neocolonialism, anticolonialism, guerrilla, Lucia Marcucci, Luciano Ori, Vietnam Tutte giustificazioni ignobili. Anche quando credi di non aver mai ado- perato la rivoltella, lo staffile, il tribunale, la furbizia, le macchine, il de- naro, ti accorgi che hai adoperato la tua ipocrisia di civilizzato e i tuoi vizi. Enrico Emanuelli, Settimana nera, 1961 Anche noi, gente d’Europa, ci si decolonizza: ciò vuol dire che si estirpa, con un’operazione sanguinosa, il colono che è in ciascuno di noi. Jean-Paul Sartre, “Prefazione” a Frantz Fanon, I dannati della terra,1962 Il 1960 è dichiarato dalle Nazioni Unite l’anno dell’Africa, anche alla luce del raggiungimento dell’indipendenza da parte di diversi stati (Enwezor 2001), tra cui il Congo, che l’anno succes- sivo vede l’assassinio politico del leader Patrice Lumumba, e la Somalia, su cui si conclude il mandato fiduciario dell’Italia. -
Del Linguaggio Poesia Visiva Ricerche Verbo - Visuali
LE PRATICHE VISUALI DEL LINGUAGGIO POESIA VISIVA RICERCHE VERBO - VISUALI DISPENSE EDITORIA D’ARTE PROF. MASSIMO ARDUINI LA POESIA VISIVA LA PRATICA VISUALE DEL LINGUAGGIO a poesia visiva, nasce da tutte quelle 1. la crisi del Neorealismo evidenziata dalla rivista sperimentazioni artistiche e letterarie “Officina”; Lcompiute nel clima della Neoavanguardia, a 2. le riflessioni sui rapporti tra la politica, la partire dagli anni Sessanta del XX secolo. cultura e la letteratura tipiche di riviste come “Il La Neoavanguardia - all’interno della quale si Politecnico”, “Società”, “Il Contemporaneo” e sviluppano le ricerche verbo-visuali - si qualifica “Rinascita” nate a partire dal secondo dopoguerra; come uno strumento di analisi, come azione 3. il rinnovamento dei dibattiti su temi come sul piano della cultura, come interpretazione ‘letteratura e vita’, ‘letteratura e industria’, e su della realtà e, di conseguenza, come analisi una nuova questione della lingua; dell’intreccio fra Arte e Cultura, caratteristico 4. la presa di coscienza dello sperimentalismo di dei dibattiti intellettuali degli anni Sessanta. Le Pasolini, dei futuristi e dei dadaisti; ricerche linguistiche ed estetiche della Poesia 5. il principio dell’engagement ipotizzato da Sartre Visiva nascono in questi contesti - facili definire - di e ripreso da Vittorini negli anni Cinquanta nella “eclettismo” culturale. Solo analizzando la cultura rivista e le ideologie dell’epoca si può avere una chiara “Il Verri”; percezione della complessità dei dibattiti e del 6. la democratizzazione e la morte dell’Arte perché la Poesia Visiva abbia avuto uno sviluppo analizzata dalla Scuola di Francoforte; simultaneo a livello mondiale, collocandosi a metà 7. l’allargamento lessicale dei mass media; fra i generi artistici e i generi letterari, essendo 8.l’idea di opera aperta teorizzata da Umberto essa un fenomeno ibrido di Arte e Letteratura. -
M HKA 2020 Jaarverslag Inhoud 3 M HKA Jaarverslag 2020 Inhoud 2.4 2.3 2.2 2.1 2 AFDELINGSNIEUWS 1 3.5 3.4 3.3 3.2 3.1 3 INLEIDING
M HKA 2020 Jaarverslag Inhoud 1 INLEIDING 8 2 AFDELINGSNIEUWS 16 2.1 ARTISTIEKE PRESENTATIE 2.1.1 Programmering 2.1.2 Productie 2.1.3 De Cinema 2.2 MUSEALE WERKING 2.2.1 Werkgroepen 2.2.1.1 Werkgroep aankoopbeleid 2.2.1.2 Werkgroep Mappenstructuur 2.2.1.3 Werkgroep Documentatie Collectie 2.2.2 Collectiebeheer 2.2.2.1 Nieuwe aanwinsten 2019 2.2.2.2 Bruikleenverkeer 2.2.2.3 Preventieve conservering 2.2.2.4 Restauratie/conservatie 2.2.2.5 Objectregistratie 2.2.2.6 De Vrielynck collectie 2.2.2.7 Panamarenkohuis in de Biekorfstraat 2.2.3 Content Management: collectiedocumentatie en bibliotheek Inhoud Inhoud 2.2.3.1 M HKA Bibliotheek 2.2.3.2 KUNST – omvang en verwerking 2.2.3.3 FILM – omvang en verwerking 2.2.4 Content Management: onderzoek en digitale werking 2.2.4.1 Ensembles.org 2.2.4.2 Technische documentatie & analyse 2.2.4.3 Statistieken 2.2.4.4 Webplatformen 2.2.4.5 Informatiebeleid 2.2.4.6 Acties mappenstructuur 2.3 PUBLIEKSWERKING 2.3.1 Museum in lockdown 2.3.2 Digitale communicatie en online M HKA community 2.3.3 Gedifferentieerde marketingcampagne voor een maximaal publieksbereik 2.3.4 Breed toegankelijk en kwalitatief bezoekersaanbod 2.3.5 Interne werking 2.4 ONDERSTEUNING 2.4.1 Financiën en HR-beleid 2.4.2 Organisatie en beleid 2.4.3 Renovatiewerken Panamarenkohuis 2.4.4 Evaluatie infrastructuur 2.4.5 Veiligheid en welzijn op het werk 2.4.6 Raad van Bestuur en Algemene Vergadering 3 SOCIAAL-ECONOMISCH VERSLAG 66 M HKA Jaarverslag 2020 M HKA Jaarverslag 3.1 Omzet (uitgaven versus inkomsten) 3.2 Personeel 3.3 Werkingskosten 3.4 Groei -
The New Art Practice in Yugo
Documents 3-6 The New Art Practice in Yugoslavia 1966-1978 Edited by Marijan Susovski Gallery of Contemporary Art, Zagreb 1978 Marijan Susovski Foreword In the last ten years, modern art in Yugoslavia, the fields of reaction on the part of the artists is to achieve spiritual and not artistic interests, the way they develop and manifest themselves materialistic results of creative work, ie. results in which have undergone essential changes in comparison to the forms the artistic quality does not derive solely from the of art which immediately preceded them or still exist. materialized esthetic quality, but in which the artistic Starting from 1966, artists of the new generation, born in the sensibility is expressed in the attitude, behaviour, option, late forties and the early fifties, became involved in artistic way of life in the activities, the acts which can most activities which differed from the established art forms in the adequately express this sensibility. Forced to carry out their milieus in which they lived and worked. New artistic trends activities within a context of art which was inappropriate, developed in Ljubljana, Zagreb, Novi Sad, Subotica, the artists inevitably came into conflict with that which, in Belgrade and Split. The very number of the cities and their their view, represented a hindrance tradition, pedagogic widespread geographical distribution testify to the scope of and art canons, conventions, the institutionalized character of interest in the new approach to artistic communication. The art and with their own social position. They advocated cities represent cultural centres with specific art traditions polemic forms of art, radical changes, analytic and critical which, in some cases, served as the basis for the development artistic activities which should represent an act of social of new trends in art and represented the starting point for relevance.