Lucio Fontana Ambienti/Environments
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Lucio Fontana
Lucio Fontana. Concetto spaziale, La luna a Venezia, 1961. 54 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/152638101317127813 by guest on 27 September 2021 Lucio Fontana: Between Utopia and Kitsch ANTHONY WHITE Consumption as spectacle contains the promise that want will disappear . It is the desire for a new ecology, for a breaking down of environmental barriers, for an esthetic which is not limited to the sphere of “the artistic.” These desires . have physiological roots and can no longer be suppressed. Consumption as spectacle is—in parody form—the anticipation of a utopian situation. —Hans Magnus Enzensberger1 In late 1961 the Argentine-Italian artist Lucio Fontana mounted his first North American solo exhibition at New York’s Martha Jackson Gallery. Titled “Ten Paintings of Venice,” the exhibition consisted of canvases that had been punc- tured with a knife and embellished with unorthodox materials. In these works, dedicated to the Byzantine splendors of Venice, dazzling layers of metallic gold or silver paint had been thickly troweled on with a spatula. Then, with the fingers of either hand, the wet paint was pockmarked with dabs, or raked into dense ridges that roughly formed squares, circles, or decorative swirls. Some works were also encrusted with shattered chips of polychrome Murano glass. In showing at Martha Jackson, Fontana was engaging in a dialogue with the most progressive art in New York of the time. The previous year the gallery had hosted “New Media—New Forms,” where the art of junk and industrial debris found its first uptown venue. In 1961 the gallery showed “Environments, Situations, Spaces,” which included Claes Oldenburg’s garish plaster reliefs of cheap com- modities; Allan Kaprow’s Yard, a courtyard filled with car tires; and George Brecht’s Chair Events, ordinary furniture considered as performance works. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
Hangarbicocca, the Post-Industrial Art Space Operated by the Tiremaker
Franca Toscano, “Taking Shelter with Mario Merz in Milan,” Blouin Art Info, November 8, 2018 HangarBicocca, the post-industrial art space operated by the tiremaker Pirelli in Milan, is not the coziest of venues, with exhibition areas more than three times the size of Tate Modern’s Turbine Hall. Yet for the next four months, HangarBicocca has been turned into a friendly tent city, thanks to 31 yurt-shaped structures made of a mix of natural and manmade materials. These are the “Igloos” created by the late Italian Contemporary artist Mario Merz, a pioneer of the Arte Povera movement, produced over a period of nearly four decades (alongside his paintings and sculptures). “Igloo” is a label that the artist, who died in 2003, gave the structure eventually, not initially; at various points in his career, he also referred to it as a womb, a hut, a dome, or a cranium. “The igloo is a home, a temporary shelter,” he explained in a RAI television program broadcast in 1984. “Since I consider that ultimately, today, we live in a very temporary era, for me the sense of the temporary coincides with this name: igloo.” Shaped like hemispheres, or upside-down bowls, the Igloos are a mysterious blend of architecture, sculpture, installation and outdoor shelter. Most are big enough for a grown-up to curl up inside (though visitors are not allowed to enter them). They are never forbidding, always inviting. Some are hollow metal structures half-covered with broken glass panes or flat pieces of stone, symbolizing the fragile relationship between the natural and the manmade. -
IAS-2017-3-Fall-Newsletter.Pdf
ITALIAN ART SOCIETY NEWSLETTER XXVIII, 3, Fall 2017 An Affiliated Society of: College Art Association Society of Architectural Historians International Congress on Medieval Studies Renaissance Society of America Sixteenth Century Society & Conference American Association of Italian Studies President’s Message from Sean Roberts Coordination will be transferred into the most capable hands of Sarah Wilkins, a long-time member of the IAS and already September 15, 2017 a vital member of this committee. This summer also saw the highly successful eighth Dear Members of the Italian Art Society: annual IAS/Kress lecture, “Il ‘fenomeno bolognese’ rivisto: donne artiste a Bologna tra quattrocento e settecento” With the start of the Fall semester once again delivered by Professor Babette Bohn (Texas Christian upon many of us, I welcome another opportunity to thank University) in Bologna’s historic former monastery of Santa each of you for your support of the IAS, catch you up on Cristina, now home of the University’s Aula Magna. This some of the recent successful programming we have stimulating lecture charted some two hundred years of sponsored, and to ask you to mark your calendars for a women’s participation in the city’s visual and literary arts, host of events planned for the coming academic year. probing both the evidence for such apparent exceptionality Since the publication of our Spring Newsletter, and exploring the social historical and historiographic the IAS has been active at a host of conferences and events conditions that might have made it possible. Along with in both North America and across the Atlantic. -
MARCO ZANUSO and RICHARD SAPPER: SELECTIONS FRON the DESIGN COLLECTION August 19 - November 9, 1993
The Museum of Modern Art For Immediate Release August 1993 MARCO ZANUSO AND RICHARD SAPPER: SELECTIONS FRON THE DESIGN COLLECTION August 19 - November 9, 1993 An exhibition of twenty objects designed by Marco Zanuso and Richard Sapper opens at The Museum of Modern Art on August 19, 1993. Organized by Anne Dixon, study center supervisor, Department of Architecture and Design, NARCO ZANUSO AND RICHARD SAPPER: SELECTIONS FRON THE DESIGN COLLECTION includes televisions, appliances, chairs, and a variety of other objects designed by Zanuso and Sapper, working both individually and in collaboration, from 1959 to 1978. The exhibition highlights the ways in which Zanuso's and Sapper's designs manifest an understanding of the relationship of user to object, embodying what Zanuso has called the "metaphoric quality which objects have for those who use them." It is the exploitation of this metaphoric quality that endows their products with a level of emotional and intellectual meaning usually outside the realm of product design. The range of meanings evoked by the designs is broad. The "Grillo" telephone, for instance, is a pleasing, shell-like object which affirms the intimacy of conversation. The "Doney 14" television, with minimal casing around the picture tube, is an object in which simple design establishes a straightforward dialogue with the viewer, while the "Black 201" television is a solid black cube that reveals the screen behind its translucent face only when turned on. Designed during the Vietnam war -- often called the first -more- 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 televised war -- the "Black 201" raises questions about information and power. -
Joseph Kosuth and Arte Povera Turin, 31 October 2017 – 20 January 2018
works by Pier Paolo Calzolari, Joseph Kosuth, Mario Merz, Emilio Prini Text by Cornelia Lauf Joseph Kosuth and Arte Povera Turin, 31 October 2017 – 20 January 2018 Colour in Contextual Play An Installation by Joseph Kosuth Works by Enrico Castellani, Lucio Fontana, Yves Klein, Joseph Kosuth, Piero Manzoni Curated by Cornelia Lauf Neon in Contextual Play Joseph Kosuth and Arte Povera Works by Pier Paolo Calzolari, Joseph Kosuth, Mario Merz, Emilio Prini Text by Cornelia Lauf 31 October 2017 – 20 January 2018 Private View: 30 October 2017, 6 – 8 pm MAZZOLENI TURIN is proud to present a double project with American conceptual artist Joseph Kosuth (b. 1945), opening in October at its exhibition space in Piazza Solferino. Colour in Contextual Play. An Installation by Joseph Kosuth, curated by Cornelia Lauf, exhibited last Spring in the London premises of the gallery to international acclaim, includes works by Enrico Castellani (b. 1930), Lucio Fontana (1899–1968), Yves Klein (1928–1963), Piero Manzoni (1933– 1963), and Kosuth himself. This project, installed in the historic piano nobile rooms of Mazzoleni Turin, runs concurrently with a new exhibition, Neon in Contextual Play: Joseph Kosuth and Arte Povera devised especially for Mazzoleni Turin and installed in the groundfloor space, is focused on the use of Neon in the work of Joseph Kosuth and selected Arte Povera artists Mario Merz (1925-2003), Pier Paolo Calzolari (b. 1943) and Emilio Prini (1943-2016). Colour in Contextual Play juxtaposes monochrome works by Castellani, Fontana, Klein and Manzoni with works from Kosuth’s 1968 series ‘Art as Idea as Idea’. -
Introduction*
Introduction* CLAIRE GILMAN If Francesco Vezzoli’s recent star-studded Pirandello extravaganza at the Solomon R. Guggenheim Museum and the Senso Unico exhibition that ran con- currently at P.S.1 Contemporary Art Center are any indication, contemporary Italian art has finally arrived.1 It is ironic if not entirely surprising, however, that this moment occurs at a time when the most prominent trend in Italian art reflects no discernible concern for things Italian. Rather, the media-obsessed antics of Vezzoli or Vanessa Beecroft (featured alongside Vezzoli in Senso Unico) are better understood as exemplifying the precise eradication of national and cultural boundaries that is characteristic of today’s global media culture. Perhaps it is all the more fitting, then, that this issue of October returns to a rather different moment in Italian art history, one in which the key practition- ers acknowledged the invasion of consumer society while nonetheless striving to keep their distance; and in which artists responded to specific national condi- tions rooted in real historical imperatives. The purpose of this issue is twofold: first, to give focused scholarly attention to an area of post–World War II art history that has gained increasing curatorial exposure but still receives inadequate academic consideration. Second, in doing so, it aims to dismantle some of the misconceptions about the period, which is tra- ditionally divided into two distinct moments: the assault on painting of the 1950s and early ’60s by the triumverate Alberto Burri, Lucio Fontana, and Piero Manzoni, followed by Arte Povera’s retreat into natural materials and processes. -
Cersaie Bologna | International Exhibition of Ceramic Tile
INTINTERNATIONAL EXHIBITION OF CERAMIC TILE AND BATHROOM FURNISHINGS 28 SEPTEMBER - 2 OCTOBER 201 Cersaie Bologna | International Exhibition of Ceramic Tile ... ERNATIONAL EXHIBITION OF CERA AND BATHROOM FURNISHINGS Home > Events > Protagonists Protagonists Claudio Musso Digicult Network Oscar G. Colli Biographical notes Columnist for the magazine “il Bagno Oggi e Domani” of which he was co-founder and editorial director. He is been part for about 16 years of the ADI’s Permanent Observatory of Design. From 2008 to 2010 he directed the selection and publication on the ADI-Design-Index of the best products and services among which the winners of the “Compasso d’Oro” are selected. He held many conferences and talks with students in various universities and he is often moderator for conventions and seminars about interior design and industrial design. Marco Vismara Architect Biographical notes Studio D73 by Marco Vismara and Andrea Viganò is specialized in architectural and design projects in a wide international dimension. Studio D73 deals with interior design, different commercial and private projects, from analysis to production, and carries out the project phases thanks to a very efficient team of professionals based in the headquarter in Italy and the two other offices in Moscow, Tunis and Tbilisi. Within the past few years, Studio D73 has grown and reached many countries abroad, mainly in Russia, East Europe and North Africa, with the aim of keeping growing in new countries in the near future. State-of- the-art design project solutions by Studio D73 include Spa, hotel, showroom, and residential buildings. Giampietro Sacchi Interior designer Biographical notes Interior designer and director of the masters “High education design” at POLI.design – Polytechnic University of Milan. -
LUCIO FONTANA: SPATIAL ENVIRONMENT (Ambiente Spaziale)
LUCIO FONTANA: SPATIAL ENVIRONMENT (Ambiente Spaziale) On View from January 23 to April 21, 2019 Educator Resource Guide Grades 1 – 12 1 Dear Educator, Ambiente Spaziale (Spatial Environment) is a collaboration between El Museo del Barrio and The Metropolitan Museum of Art’s exhibition Lucio Fontana: On the Threshold [on view at the Met Breuer and curated by Estrellita B. Brodsky and Iria Candela]. Ambiente Spaziale merges the characteristics of painting, sculpture and architecture in order to go beyond the very notion of these artistic languages and create a space where visitors can walk through and experience. The installation highlights the universal themes of space [dialectics], dimensions and sculpture. Works of photography, prints, sculpture, and ceramics accompany paintings in this multi-media exhibition that highlights the iconic presence of the human form in various ways. We hope you will use the educational materials provided in this guide as a resource to support the different areas of study in your classroom and to help prepare your students for a visit to the museum. To help you plan your lessons and units, we have included contextual information and a classroom project guide with discussion questions and prompts. We look forward to having you join us for a visit to El Museo del Barrio this season! The Education Department of El Museo del Barrio 2 Table of Contents Page Number About the Artist: Lucio Fontana……………………………………………………………………………………….……………4 About the Exhibition: Ambiente Spaziale (1968)…………………………..……………………………………..…..6 -
2700 Route 9 Cold Spring, NY 10516, USA Tel +1 845 666 7202 [email protected]
For Immediate Release April 25, 2019 Magazzino Italian Art Foundation Announces New Four-Part Lecture Series on Arte Povera Leading Scholars to Present New Research and Explore the Movement’s Impact on Contemporary Art 2700 Route 9 Cold Spring, NY – April 25, 2019 – As part of its spring and summer season, Cold Spring, NY 10516, USA Magazzino Italian Art Foundation will present Reconsidering Arte Povera, a four- Tel +1 845 666 7202 part lecture series exploring new insights into Arte Povera. The series embodies [email protected] Magazzino’s enduring commitment to creating new opportunities for scholarly research and critical assessment of Italian Postwar and Contemporary Art. Follow Magazzino on social media: @magazzino Organized by Scholar-in-Residence Francesco Guzzetti, the series convenes leading #MagazzinoItalianArt scholars and curators in the field to explore the work of the Arte Povera artists, its critical reception, and relevance to contemporary art — both in Italy and the United States. Media Contact USA Launching the program, Guzzetti will present a lecture on his findings over the course Jill Mediatore / Juliet Vincente of his year spent researching Arte Povera works at Magazzino and in the new Research RESNICOW + ASSOCIATES Center. Visitors will be encouraged to explore the galleries following the lectures. [email protected] [email protected] Additional details on each program and lecturer follows below: 212 671 5164 / 212 671 5154 At Borders: Arte Povera on the Edge Media Contacts ITALY Francesco Guzzetti, Scholar-in-Residence, Magazzino Italian Art Foundation Ambra Nepi May 18, 3:00 – 5:00pm AMBRA NEPI COMUNICAZIONE Guzzetti will explore the notion of a border as a cultural and visual issue and essential [email protected] concept in defining Arte Povera. -
The Meaning of Italian Culture in the Latin American Architecture Historiography
CADERNOS 19 ROBERTO SEGRE The Meaning of Italian Culture in the Latin American Architecture Historiography. An Autobiographical Essay. ROBERTO SEGRE The Meaning of Italian Culture in the Latin American 291 Architecture Historiography. An Autobiographical Essay. Roberto Segre Picture: Meindert Versteeg (2010) The first years he decision of writing an autobiographical narrative is a difficult task, as- Tsuming as guideline the meaning of Italy and its culture, for seven decades dedicated to the history of Architecture. It gives the impression that telling your own life story is somehow associated with an egocentric, self-recognition content; with the illusion of an idea that personal experiences would be useful to eventual readers. However, at the same time, there is in the world a persis- tent and intense desire of knowing the individualities that through their work contributed to the development of culture and ideas that had some influence on the social development; those who fought for transforming reality by gen- erating new empirical contents, interpretations, discoveries and experiences that could be embraced by future generations. Therefore, reaching an advanced age, we feel the need of stopping, of looking back to the past and following the singer Paolo Conte’s suggestion: “dai, dai, via, via, srola la pellicola”, and thus, reviewing the most significant moments of life: the discoveries during travels, the contact with the masters, the aesthetic and architectonic experiences. Un- doubtedly some autobiographies are still paradigmatic, such as the ones by F.L. Wright and Oscar Niemeyer; or the more intimate and personal ones by Peter Blake, V.G. Sebald or Eric Hobsbawm. -
Lucio Fontana Leads Christie's Thinking Italian 6 October 2017
PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE | 13 SEPTEMBER 2017 LUCIO FONTANA LEADS CHRISTIE’S THINKING ITALIAN 6 OCTOBER 2017 LUCIO FONTANA Concetto spaziale, In piazza San Marco di notte con Teresita (1961) acrylic and stones on canvas 59 × 59 in. (150 × 150 cm.), Estimate on request London – This October, during London’s Frieze Week, Christie’s will present Thinking Italian, a showcase of the very best in Italian Art of the 20th Century. The auction will follow Christie’s Post-War and Contemporary Art Evening Auction on 6 October 2017 and present a tightly curated selection of artists across the century; from Marino Marini, to Alberto Burri, Lucio Fontana, Michelangelo Pistoletto and Maurizio Cattelan. Defined by eclecticism, revolution and a deeply rooted yet ever-changing dialogue between the past and the present, Italian art of the 20th Century encompasses some of the most influential artistic creations of our times. A selection of works will tour to the MAXXI Museum in Rome from 14-15 September and then to Turin from 20-21 September, before the full sale exhibition in London from 30 September to 6 October 2017. Leading the auction, Lucio Fontana’s Concetto spaziale, In piazza San Marco (1961, estimate on request) is from the much-celebrated cycle of paintings titled Venezie. This sequence of 22 ornate, large-scale, baroque- inspired oil paintings are today recognised as the painterly culmination of Fontana’s Spatialist vision. An ever- changing animated play of light, space and colour, the work is a spatial concept of St Mark’s Square in Venice. It reflects the floating city’s history as a place of love, mystery, romance and illusion.