Beauty ITALIAN MASTERPIECES from the INTERWAR PERIOD
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Annual Report 2018–2019 Artmuseum.Princeton.Edu
Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb. -
Sarfatti and Venturi, Two Italian Art Critics in the Threads of Modern Argentinian Art
MODERNIDADE LATINA Os Italianos e os Centros do Modernismo Latino-americano Sarfatti and Venturi, Two Italian Art Critics in the Threads of Modern Argentinian Art Cristina Rossi Introduction Margherita Sarfatti and Lionello Venturi were two Italian critics who had an important role in the Argentinian art context by mid-20th Century. Venturi was only two years younger than Sarfatti and both died in 1961. In Italy, both of them promoted groups of modern artists, even though their aesthetic poetics were divergent, such as their opinions towards the official Mussolini´s politics. Our job will seek to redraw their action within the tension of the artistic field regarding the notion proposed by Pierre Bourdieu, i.e., taking into consider- ation the complex structure as a system of relations in a permanent state of dispute1. However, this paper will not review the performance of Sarfatti and Venturi towards the cultural policies in Italy, but its proposal is to reintegrate their figures – and their aesthetical and political positions – within the interplay of forces in the Argentinian rich cultural fabric, bearing in mind the strategies that were implemented by the local agents with those who they interacted with. Sarfatti and Venturi in Mussolini´s political environment Born into a Jewish Venetian family in 1883, Margherita Grassini got married to the lawyer Cesare Sarfatti and in 1909 moved to Milan, where she started her career as an art critic. Convinced that Milan could achieve a central role in the Italian culture – together with the Jewish gallerist Lino Pesaro – in 1922 Sarfatti promoted the group Novecento. -
Books Keeping for Auction
Books Keeping for Auction - Sorted by Artist Box # Item within Box Title Artist/Author Quantity Location Notes 1478 D The Nude Ideal and Reality Photography 1 3410-F wrapped 1012 P ? ? 1 3410-E Postcard sized item with photo on both sides 1282 K ? Asian - Pictures of Bruce Lee ? 1 3410-A unsealed 1198 H Iran a Winter Journey ? 3 3410-C3 2 sealed and 1 wrapped Sealed collection of photographs in a sealed - unable to 1197 B MORE ? 2 3410-C3 determine artist or content 1197 C Untitled (Cover has dirty snowman) ? 38 3410-C3 no title or artist present - unsealed 1220 B Orchard Volume One / Crime Victims Chronicle ??? 1 3410-L wrapped and signed 1510 E Paris ??? 1 3410-F Boxed and wrapped - Asian language 1210 E Sputnick ??? 2 3410-B3 One Russian and One Asian - both are wrapped 1213 M Sputnick ??? 1 3410-L wrapped 1213 P The Banquet ??? 2 3410-L wrapped - in Asian language 1194 E ??? - Asian ??? - Asian 1 3410-C4 boxed wrapped and signed 1180 H Landscapes #1 Autumn 1997 298 Scapes Inc 1 3410-D3 wrapped 1271 I 29,000 Brains A J Wright 1 3410-A format is folded paper with staples - signed - wrapped 1175 A Some Photos Aaron Ruell 14 3410-D1 wrapped with blue dot 1350 A Some Photos Aaron Ruell 5 3410-A wrapped and signed 1386 A Ten Years Too Late Aaron Ruell 13 3410-L Ziploc 2 soft cover - one sealed and one wrapped, rest are 1210 B A Village Destroyed - May 14 1999 Abrahams Peress Stover 8 3410-B3 hardcovered and sealed 1055 N A Village Destroyed May 14, 1999 Abrahams Peress Stover 1 3410-G Sealed 1149 C So Blue So Blue - Edges of the Mediterranean -
Notable Photographers Updated 3/12/19
Arthur Fields Photography I Notable Photographers updated 3/12/19 Walker Evans Alec Soth Pieter Hugo Paul Graham Jason Lazarus John Divola Romuald Hazoume Julia Margaret Cameron Bas Jan Ader Diane Arbus Manuel Alvarez Bravo Miroslav Tichy Richard Prince Ansel Adams John Gossage Roger Ballen Lee Friedlander Naoya Hatakeyama Alejandra Laviada Roy deCarava William Greiner Torbjorn Rodland Sally Mann Bertrand Fleuret Roe Etheridge Mitch Epstein Tim Barber David Meisel JH Engstrom Kevin Bewersdorf Cindy Sherman Eikoh Hosoe Les Krims August Sander Richard Billingham Jan Banning Eve Arnold Zoe Strauss Berenice Abbot Eugene Atget James Welling Henri Cartier-Bresson Wolfgang Tillmans Bill Sullivan Weegee Carrie Mae Weems Geoff Winningham Man Ray Daido Moriyama Andre Kertesz Robert Mapplethorpe Dawoud Bey Dorothea Lange uergen Teller Jason Fulford Lorna Simpson Jorg Sasse Hee Jin Kang Doug Dubois Frank Stewart Anna Krachey Collier Schorr Jill Freedman William Christenberry David La Spina Eli Reed Robert Frank Yto Barrada Thomas Roma Thomas Struth Karl Blossfeldt Michael Schmelling Lee Miller Roger Fenton Brent Phelps Ralph Gibson Garry Winnogrand Jerry Uelsmann Luigi Ghirri Todd Hido Robert Doisneau Martin Parr Stephen Shore Jacques Henri Lartigue Simon Norfolk Lewis Baltz Edward Steichen Steven Meisel Candida Hofer Alexander Rodchenko Viviane Sassen Danny Lyon William Klein Dash Snow Stephen Gill Nathan Lyons Afred Stieglitz Brassaï Awol Erizku Robert Adams Taryn Simon Boris Mikhailov Lewis Baltz Susan Meiselas Harry Callahan Katy Grannan Demetrius -
David Wojnarowicz and the Surge of Nuances. Modifying Aesthetic Judgment with the Influx of Knowledge
David Wojnarowicz and the Surge of Nuances. Modifying Aesthetic Judgment with the Influx of Knowledge Author Affiliation Paul R. Abramson & University of California, Tania L. Abramson Los Angeles Abstract: Learning that an artist was a victim of inconceivable torment is critical to how their artworks are experienced. Forced as it were to absorb the wretched demons from the here and now, artists such as David Wojnarowicz have implau- sibly found the resolve to depict this adversity, and its psychological detritus, in their singularly creative manners. Recognised for his autobiographical writings no less than his artwork, Wojnarowicz is especially admired for his sheer defiance of conventional life scripts, and his fortitude in the face of adversity in the circum- scribed world of imaginative constructions. Arthur Rimbaud in New York, A Fire in My Belly, and Wind (for Peter Hujar) for example. The enduring value of his artwork, inextricably enhanced by his diaries and essays, is that they simultane- ously provide a narrative portal into the untangling of his inner life, as well as fundamentally influence how these works are perceived. When looking at two paintings, ostensibly by Rembrandt, is there an aesthetic difference in how these paintings are experienced if we know that one of the two paintings is a forgery? Most certainly, declared Nelson Goodman, who noted that this bit of knowledge ‘makes the consequent demands that modify and differentiate my present experience in looking at the two [Rembrandt] paintings’.1 Is that also true about depictions of Christ on the cross? Does knowledge of Christ’s story alter how Michelangelo’s Christ on the Cross is experienced? If what we know, or think we know, has the capacity to ultimately influence © Aesthetic Investigations Vol 3, No 1 (2020), 146-157 Paul R. -
Margherita Sarfatti: Una Donna Nuova Celata Dalla Storia
MARGHERITA SARFATTI: UNA DONNA NUOVA CELATA DALLA STORIA MOSTRE AL MUSEO DEL NOVECENTO A MILANO E AL MART DI ROVERETO Margherita Sarfatti donna del suo tempo, un’icona sfaccettata come appare nell’immagine simbolo della mostra che ne riassume la vita e i meriti culturali, è stata una figura che ha disegnato come imprenditrice culturale e critica d’arte nuovi ruoli per il genere femminile, proprio quando si stava delineando un sistema dell’arte moderno. Margherita vive in un momento storico caratterizzato da grandi rivolgimenti sociali e da uno sviluppo economico straordinario. Un’epoca di cambiamenti potremmo dire epocali come puo ben essere evidenziato, nei quadri degli artisti di quegli anni, dove vediamo come le innovazioni tecnologiche, dai tram agli aeroplani, trasformino il paesaggio non solo terrestre, ma anche la vista del cielo ostacolata ora anche dalle superfici estese degli edifici industriali, sempre più numerosi. Cambiano le città e i loro colori: i grigi e i marroni contrastano con il verde degli alberi, soprattutto a Milano dove vive e opera la protagonista delle due nuove mostre che si sono aperte, in questi giorni, al Museo del Novecento, nel capoluogo lombardo e al Mart di Rovereto. Esse costituiscono un’occasione per comprendere l’importanza di questa intellettuale, poco nota in rapporto al ruolo potremmo definire caleidoscopico svolto come giornalista, critica, curatrice di mostre d’arte e divulgatrice dell’arte italiana nel mondo. La sua notorieta come “l’amante del duce” l’ha condannata alla damnatio memoriae. La mostra nel capoluogo lombardo: Segni, colori e luci a Milano, curata da Anna Maria Montaldo, Danka Giacon e con la collaborazione di Antonello Negri, ha il merito di mettere in evidenza attraverso il percorso biografico della Sarfatti l’ambiente culturale dell’epoca e soprattutto fa conoscere in modo più ampio, grazie ai novanta quadri esposti, gli artisti del gruppo Novecento di cui Margherita era l’anima critica. -
Export / Import: the Promotion of Contemporary Italian Art in the United States, 1935–1969
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 Raffaele Bedarida Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/736 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by RAFFAELE BEDARIDA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 RAFFAELE BEDARIDA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy ___________________________________________________________ Date Professor Emily Braun Chair of Examining Committee ___________________________________________________________ Date Professor Rachel Kousser Executive Officer ________________________________ Professor Romy Golan ________________________________ Professor Antonella Pelizzari ________________________________ Professor Lucia Re THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by Raffaele Bedarida Advisor: Professor Emily Braun Export / Import examines the exportation of contemporary Italian art to the United States from 1935 to 1969 and how it refashioned Italian national identity in the process. -
Uncannily Real Italian Painting of the 1920S 28 September 2018 – 13 January 2019 Opening: 27 September, 7 P.M
Press materials Uncannily Real Italian Painting of the 1920s 28 September 2018 – 13 January 2019 Opening: 27 September, 7 p.m. Content 1. Press release 2. Biographies – a selection 3. Wall texts 4. General information 5. Catalogue 6. Press images 7. Fact sheet Museum Folkwang Press Release Uncannily Real – a major special exhibition on Italian painting of the 1920s on display at Museum Folkwang from 28 September. Essen, 27.9.2018 – The exhibition Uncannily Real: Italian Painting of the 1920s presents more than 80 paintings from Realismo Magico. This artistic movement emerged in Italy in the wake of the First World War, parallel to Neue Sachlichkeit in Germany. Outstanding works by key protagonists such as Felice Casorati, Antonio Donghi and Ubaldo Oppi are featured alongside influential paintings by Giorgio de Chirico and Carlo Carrà. This represents the first comprehensive presentation of these works in Germany, allowing visitors to rediscover this strand of Modernism. After the experiences of the First World War, in Europe and beyond, many artists returned to a realistic form of representation, definitively abandoning Expressionism. Picking up on the metaphysical painting of Giorgio de Chirico and Carlo Carrà and the rappel à l’ordre (call for a return to order) issued by Parisian Neo-Classicism, the artists cause time to stand still in their paintings. They imbue their realistic depictions with dream-like, uncanny, at times disturbing elements. The paintings depict their subject matter clearly and precisely, while retaining a cryptic quality to their atmospheres and themes. The result is the production of evocative works of outstanding painterly quality, often in dazzling colours. -
Mexican Murals and Fascist Frescoes
Mexican Murals and Fascist Frescoes: Cultural Reinvention in 20th-Century Mexico and Italy An honors thesis for the Department of International Literary and Visual Studies Maya Sussman Tufts University, 2013 Acknowledgments I would like to thank Professor Adriana Zavala for her encouragement, guidance, and patience throughout each step of this research project. I am grateful to Professor Laura Baffoni-Licata and Professor Silvia Bottinelli for both supporting me and challenging me with their insightful feedback. I also wish to acknowledge Kaeli Deane at Mary-Anne Martin/Fine Art for inviting me to view Rivera’s Italian sketchbook, and Dean Carmen Lowe for her assistance in funding my trip to New York through the Undergraduate Research Fund. Additionally, I am grateful to the Academic Resource Center for providing supportive and informative workshops for thesis writers. Finally, I want to thank my friends and family for supporting me throughout this project and the rest of my time at Tufts. Contents Introduction................................................................................................................................... 1 Chapter 1: Diego Rivera’s Sketches from Italy: The Influence of Italian Renaissance Art on the Murals at the Ministry of Public Education and Chapingo Chapel ................................................ 7 Chapter 2: Historical Revival in Fascist Italy: Achille Funi’s Mito di Ferrara Frescoes........... 46 Chapter 3: Muralists’ Manifestos and the Writing of Diego Rivera and Achille Funi .............. -
DAVID WOJNAROWICZ (1954–1992) B
DAVID WOJNAROWICZ (1954–1992) b. 1954, Red Bank, NJ d. 1992, New York, NY SOLO EXHIBITIONS 2020 I is Someone Else, Morán Morán, Los Angeles CA David Wojnarowicz, Photography & Film, Morris and Helen Belkin Art Gallery, Vancouver, BC 2019 History Keeps Me Awake at Night, Museum Reina Sofia, Madrid David Wojnarowicz, Photography & Film, Kunst-Werke Institute for Contemporary Art, Berlin 2018 History Keeps Me Awake at Night, The Whitney Museum of American Art, New York, NY Soon All This Will be Picturesque Ruins: The Installations of David Wojnarowicz, P·P·O·W, New York, NY David Wojnarowicz: Video and Photography, KW Institute for Contemporary Art, Berlin, Germany. David Wojnarowicz: Flesh of My Flesh, Iceberg Projects, Chicago, IL 2016 Raging Through: The Art of David Wojnarowicz, Zimmerli Art Museum, Rutgers University, New Brunswick, NJ 2011 Spirituality, P·P·O·W, New York, NY 2009 David Wojnarowicz, Supportico Lopez, Berlin, Germany 2006 Rimbaud in New York, CABINET, London, England David Wojnarowicz, Between Bridges, London, England 2004 Out of Silence: Artworks with Original Text by David Wojnarowicz, P·P·O·W, New York, NY David Wojnarowicz: Rimbaud in New York, Roth Horowitz Gallery, New York, NY Close Up sur David Wojnarowicz, Forum des Halles Espace Rencontres, Paris, France 2001 Featured Works VI: David Wojnarowicz: The Elements, Fire and Water, Earth and Wind, Krannert Art Museum, University of Illinois, Urbana-Champaign, IL 1999 Fever: The Art of David Wojnarowicz, New Museum, New York, NY David Wojnarowicz: The Boys Go Off -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
Architecture and Materials in the First Half of the 20Th Century in Italy
G. Bernardo & L. Palmero Iglesias, Int. J. of Herit. Archit., Vol. 1, No. 4 (2017) 593–607 ARCHITECTURE AND MatERIALS IN THE FIRST HALF OF THE 20TH CENTURY IN ItaLY G. BERNARDO1 & L. PALMERO IGLESIAS2 1Department of European and Mediterranean Cultures, University of Basilicata, Italy. 2Department of Architectural Constructions, Technical University of Valencia, Spain. ABSTRACT The architecture and the materials used in the constructions have always been the symbol of the culture and progress of a people. Each historical period can be described in its complexity through the architectural heritage. The built environment is really an extraordinary testimony of the creativity and intelligence of humankind, of its enormous possibilities but also of its limitations as well as of a certain sensitivity and world view. This paper illustrates a multidisciplinary and historical-critical study of the main architectural trends in Italy in the first half of the 20th century: from the Futurism of the early 20th century to the rationalism of the fascist period. The work is focused on the role of the architecture in the socio-economic development of a country and on the complex relation- ship between materials innovation and architecture, which originates even today the debate between modernity and tradition. The results highlight the outstanding importance in the evolution of the different ways of conceiving architecture. It can be just a Utopia as in the Futuristic architecture, a drive towards a better world which will be able to meet the growing needs of an ever-changing world, or rise to fulfil the function of science and art through the innovative use of new materials and manufacturing technologies.