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The Leo Castelli Gallery in Metro Magazine: American Approaches to Post-Abstract Figuration in an Italian Context

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The Leo Castelli Gallery in Metro Magazine: American Approaches to Post-Abstract Figuration in an Italian Context Copyright by Dorothy Jean McKetta 2012 The Thesis Committee for Dorothy Jean McKetta Certifies that this is the approved version of the following thesis: The Leo Castelli Gallery in Metro Magazine: American Approaches to Post-Abstract Figuration in an Italian Context APPROVED BY SUPERVISING COMMITTEE: Supervisor: Richard Shiff John R. Clarke The Leo Castelli Gallery in Metro Magazine: American Approaches to Post-Abstract Figuration in an Italian Context by Dorothy Jean McKetta, B.A.; B.F.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin August 2012 Dedication This thesis is dedicated to Paolo Barucchieri (1935-2012). Thank you, Paolo, for sharing your Italy with me. Acknowledgements I would like to acknowledge the many people who have made this thesis possible. Thank you to the members of my thesis committee who attended my colloquium: Dr. Andrea Giunta, Dr. Linda Henderson, and Dr. Nassos Papalexandrou. All of your comments have helped to bring my topic into focus over the past few months. To my reader, Dr. John R. Clarke, thank you for encouraging me to write on Italy in the twentieth century, and for sharing your personal library so generously. And, of course, many thanks to Dr. Richard Shiff, my advisor, who suggested and that Metro magazine might help me find clues to Cy Twombly’s Roman milieu. Thank you for all your attention and trust. I would also like to acknowledge a few others who have helped along the way: Laura Schwartz, William Crain, Bob Penman, Maureen Howell, Jessamine Batario, my parents Randy and Terry McKetta. v Abstract The Leo Castelli Gallery in Metro Magazine: American Approaches to Post-Abstract Figuration in an Italian Context Dorothy Jean McKetta, M.A. The University of Texas at Austin, 2012 Supervisor: Richard Shiff Between the years 1960 and 1970, New York gallerist Leo Castelli was closely involved with Milanese editor and publisher Bruno Alfieri’s Metro magazine—an international review of contemporary art. By placing his artists in Metro, Castelli insterted them into the world of Italian art criticism and theory. This recontextualization familiarized the American artists of Castelli’s gallery to a European audience and positioned them at the end of a succession of modern European artistic styles. Specifically, Castelli’s artists, each of whom engaged in a form of pictorial figuration, were seen as ending the dominance of the “pure” abstraction of the French informel style. This thesis uses the archive of correspondence between Bruno Alfieri and Leo Castelli to examine Castelli’s contribution to Metro during the 1960s. Departing from this chronology, it also seeks to understand the unique brand of figuration that each of Castelli’s artists brought to Metro, given cues from contemporary Italian theory and criticism—particularly that of Gillo Dorfles, who wrote on several of Castelli’s artists. vi Table of Contents Table of Contents .................................................................................................. vii List of Tables ......................................................................................................... ix List of Figures ..........................................................................................................x Introduction: Leo Castelli and Metro Magazine ......................................................1 Other Gallerists ...............................................................................................7 A Quick Note About Style ..............................................................................9 Chapter One: Setting the Scene in Metro 1 ...........................................................15 Making a Scene: Bar and Café Culture.........................................................16 Edward Higgins dans le Metro .....................................................................19 The Biennale, Metro and Cultural Aggiornamento.......................................20 Contemporary Art and the “Metro Young” in 1960 .....................................23 The Artist as Art............................................................................................26 Chapter Two: Robert Rauschenberg in Metro 2 ....................................................29 Rauschenberg as Anti-hero ...........................................................................30 Dorfles and Eco: Rauschenberg and Open Poetry of Visual Information ....32 Rauschenberg dans le Metro .........................................................................40 Chapter Three: Jasper Johns in Metro 4/5 .............................................................47 Gillo Dorfles on Jasper Johns .......................................................................50 Leo Steinberg on Jasper Johns ......................................................................55 Jasper Johns in Interview .....................................................................57 “Jasper Johns” in Metro and After ................................................................59 Chapter Four: Cy Twombly and L’Esperienza Moderna in Metro 6 ....................62 Making a Scene: Who’s Who at the Venice Biennale ..................................62 Making a Scene: The Artists of L’Esperienza Moderna ..............................64 Gillo Dorfles on “Written Images of Cy Twombly” ....................................68 The New Figuration of L’Esperienza Moderna ............................................72 vii Chapter Five: Roy Lichtenstein and Lee Bontecou in Metro 8 .............................74 Dorfles and The New Figuration ..................................................................74 Dore Ashton on Lee Bontecou ......................................................................76 Robert Rosenblum on Roy Lichtenstein .......................................................78 Lichtenstein dans le Metro............................................................................82 Chapter Six: Metro Magazine in 1964 ...................................................................85 The 1964 Venice Biennale ............................................................................85 Restructuring Metro ......................................................................................88 Conclusion .............................................................................................................93 Notes ......................................................................................................................95 Appendix A: Table ...............................................................................................141 Appendix B: Figures ............................................................................................142 Bibliography ........................................................................................................181 viii List of Tables (Table 1) Metro, Information by Issue: Languages, Length, Advertisements. ................141 ix List of Figures (Fig. 1) Three full-page ads for galleries in Metro 13: Alfieri Libreria/Galleria, The Leo Castelli Gallery, and Galleria Lorenzelli; images from Metro 13 (February, 1968). ......................................................................142 (Fig. 2) Cover and pages from Zodiac 8: “America.” The cover features Jasper Johns’s Three Flags (1958); the pages show an installation view of paintings by Jasper Johns; images from Zodiac 8 (1961). At top left: Preliminary sketch of the cover by Bruno Alfieri; image from a letter to Leo Castelli, 25 January 1961, The Leo Castelli gallery records, 1:15, Archives of American Art, Smithsonian Institute (Washington D.C.). .........................................................................................143 (Fig. 3) Photograph of Jorge Piqueras at Les Deux Magots, from “Piqueras aux Deux Magots et au Dôme,” in Metro 2; images from Metro 2 (May, 1961). ...................................................................................................144 (Fig. 4) Pages from the article “Caffé Rosati,” in Metro 1 with photographs by Virginia Dortch; images from Metro 1 (December, 1960). ......145 (Fig. 5) Caffé Rosati in 1963, photograph by Mario Dondero; image from Gli Irripetibili Anni ’60. ..................................................................146 (Fig. 6) “Biennale 1960: Jean Fautrier,” photograph by Ugo Mulas; image from “Due Domande” in Metro 1 (December, 1960). ................................147 (Fig. 7) Images from “A Visit with Ben Nicholson,” photographs by Felicitas Vogler; and Ben Nicholson, November 1959 (Paros, 2 Circles); collection Felicitas Vogler. All images from Metro 1 (December, 1960). 148 x (Fig. 8) Images from “A Visit with Ben Nicholson,” photographs by Paolo Monti; and Ben Nicholson, 1955 Diagonal and August 1958, drawings on paper; Milan, private collection; images from Metro 1 (December, 1960). ........................................................................................149 (Fig. 9) Pages from “Georges Noël: Metro Young No. 1,” photographs by Paul Facchetti and PH Boubat. Two paintings by Georges Noël; left: from the collection of Paul Facchetti; right: from the collection of Theodor Arensberg; images and information from Metro 1 (December, 1960). ...................................................................................................150 (Fig. 10) Images
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