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The Muse and Seven Black Paintings

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JIM DINE JIM DINE HOUSE OF WORDS The Muse and Seven Black Paintings ACCADEMIA NAZIONALE DI SAN LUCA JIM DINE House of Words The Muse and Seven Black Paintings Accademia Nazionale di San Luca Palazzo Carpegna, Roma 26 ottobre 2017 - 3 febbraio 2018 ACCADEMIA NAZIONALE DI SAN LUCA Mostra a cura di Presidente Accademia Nazionale di San Luca Gianni Dessì Jim Dine Studio Vice Presidente Francesco Cellini Allestimento a cura di Jim Dine Studio: Ex Presidente Carlo Lorenzetti Daniel Clarke Olympe Racana-Weiler Segretario Generale Jason Treffry Francesco Moschini Accademico Amministratore Allestimento dell’installazione Pio Baldi The Flowering Sheets (Poet Singing) Jim Dine Daniel Clarke Mostra e catalogo realizzati sotto l’Alto Patronato del Presidente Olympe Racana-Weiler della Repubblica Italiana, in occasione della nomina di Jim Dine Jason Treffry ad Accademico di San Luca avvenuta nel 2016. Olivier Brossard Vincent Broqua L’Accademia Nazionale di San Luca desidera ringraziare sentitamente Jim Dine, Daniel Clarke e gli altri componenti Organizzazione dello Studio Dine. Rivolge un ringraziamento speciale alla Accademia Nazionale di San Luca Richard Gray Gallery di Chicago e a Raven Munsell. Grazie a Richard Gray Gallery tutti coloro che hanno contribuito attivamente alla realizzazione della mostra e del catalogo e, in particolare, agli autori dei testi e a Registrar Gemma Vincenzini Boatto, per la loro generosa collaborazione. Anna Maria De Gregorio Restauratore Cura editoriale Fabio Porzio Laura Bertolaccini Fotografie dell’allestimento Collaboratori Andrea Veneri . Francesco Lo Mastro_Studio vl9 Roberto Agostini Fabrizio Carinci Traduzioni delle poesie di Jim Dine e dei testi in catalogo Barbara Reggio Julia MacGibbon Per il testo di Lóránd Hegyi, traduzioni di Trasporto e movimentazione Alessandra Appel-Palma, Lidia Nonato, Julia MacGibbon Dietel Apice Roma, Srl Judith Wolfframm Fast Multi Service Nessuna parte di questo libro può essere riprodotta o trasmessa in qualsiasi forma o con qualsiasi mezzo senza l’autorizzazione dei Assicurazione proprietari dei diritti e dell’editore. Arthur J. Gallagher & Co., NY L’editore rimane a disposizione di eventuali aventi diritto che non è stato possibile contattare. Prestatore Richard Gray Gallery Per tutte le opere di Jim Dine esposte in mostra e riprodotte in catalogo 875 North Michigan Avenue © 2017 Jim Dine / Artists Rights Society (ARS), New York Suite 3800 Chicago, IL 60611 © 2017 ACCADEMIA NAZIONALE DI SAN LUCA Roma, piazza dell'Accademia di San Luca 77 Ufficio stampa isbn 978-88-97610-22-9 Maria Bonmassar INDICE INDEX Gianni Dessì Lóránd Hegyi 13 Presentazione 103 «Sono contento di essere prigioniero dei Presentation miei sentimenti senza età». Osservazioni sull’autenticità poetica di Jim Dine Francesco Moschini “I am happy to be a prisoner of my ageless emotions”. 15 Il percorso artistico di Jim Dine come perenne autoritratto Some remarks on Jim Dine’s poetic authenticity alla ricerca delle sue origini Jim Dine’s Journey Through Art as an Endless Self-Portrait 155 The Muse and Seven Black Paintings in Search of His Roots Claudio Zambianchi 177 L’oggetto, il corpo, la voce. Jim Dine all’Accademia di San Luca Jim Dine Object, body, voice. Jim Dine at the Accademia di San Luca House of Words 29 I fogli in fiore 191 Mostra - Exhibition The Flowering Sheets 45 Destino Ebraico Paola Bonani Jewish Fate 223 Jim Dine e l’Italia. Appunti sulla critica nei primi anni ’60 57 La mia lettera alle truppe Jim Dine and Italy. Notes on the critical reactions of the early 1960s My Letter to the Troops 252 Mostre in Italia - Exhibitions in Italy 75 Vedere oltre la polvere di stelle, il calore sul prato (Claude) Alberto Boatto Seeing Thru the Sturdust, 261 Dine, il personaggio e l’oggetto the Heat on the Lawn (Claude) Dine: the persona and the object Vincent Katz Jim Dine 91 “I fogli in fiore” di Jim Dine 269 Biografia Jim Dine’s “Flowering Sheets” Biography Presentation Presentazione It is with immense pleasure that the Accademia Nazionale di San È con grande piacere che l’Accademia Nazionale di San Luca Luca welcomes into its ranks one of the most important artists of accoglie nel suo consesso Jim Dine, artista tra i più significativi our time, Jim Dine. dei nostri tempi. The exhibition that the Academy has dedicated to his work is a La mostra che l’Accademia gli dedica testimonia del reciproco testament to the reciprocal esteem that links the artist and the omaggio che questa istituzione e l’artista si scambiano. Academy. Artista complesso e in qualche modo, crediamo, ancora in A complex and, we believe, in some ways still secretive artist, parte segreto, ha reso, con il suo lavoro, testimonianza di una Dine’s work testifies to an ever-vivid and all-embracing “passion” “passione” all’arte sempre viva e coinvolgente. Questa mostra for art. This richly veined exhibition cannot but confirm that − non fa che confermarlo, percorsa come è da molti rivoli che la introducing us, as it does, to a world animated by visual ideas irrorano e la innervano, introducendoci in un mondo animato di that acquire shape and form in works where words, too, become pensieri visivi che trovano traccia e corpo; dove anche la parola si physical spaces when they are written, impressed or engraved, or fa spazio, fisico quando è scritta e calcata, aereo quando è detta, become airy and ethereal when they are whispered and spoken soffiata e... tutto è “voce”, che si fa forma, scultura, pittura, and… all this is “voice”: a voice that becomes form, sculpture, testimonianza di un’arte che non rinuncia alla complessità e alla painting, testament to an art that never abandons complexity and sintesi dell’esperienza del vivere. that is always a synthesis of the experience of living. To all this, to Jim Dine and his restless spirit, I pay − in my own Per questo, a Jim Dine, al suo spirito inquieto, personalmente e a name and in that of the Academy as a whole − the warmest of nome dell’Accademia tutta, rendo sentito omaggio. homage. Gianni Dessì Gianni Dessì President Presidente Accademia Nazionale di San Luca Accademia Nazionale di San Luca 13 Jim Dine’s Journey Through Art as an Endless Il percorso artistico di Jim Dine come perenne Self-Portrait in Search of His Roots autoritratto alla ricerca delle sue origini As he approached extreme old age, Picasso once said, “Now that Alle soglie della estrema maturità Picasso diceva: “Adesso che I’m old, I can start to live”. Jim Dine is one of an ever-smaller handful sono vecchio posso cominciare a vivere”. Jim Dine fa parte di un of artists who, as happens in every generation, have come to be gruppo sempre più ristretto di artisti che ormai vengono percepiti, considered patriarchs: living history. Over the past twenty years he come per ogni nuova generazione, patriarchi-testimoni della has explored new places and struck out for new destinations, but he storia. Negli ultimi vent’anni ha esplorato altri luoghi ed altre has never abandoned his roots. During an interesting exhibition on mete, rimanendo però legato alle sue origini. Nel corso di Pinocchio in 2012 he said that he found Collodi’s story fascinating un’interessante mostra su Pinocchio del 2012 disse che la storia di because the puppet’s metamorphosis from piece of wood to real Collodi era per lui di massimo interesse, poiché la metamorfosi di child represents the life of a man who, having long journeyed and una marionetta da un pezzo di legno a un vero bambino rappresenta after much roving, finally finds himself; it is a metaphor for the artistic la vita di un uomo che alla fine di lunghi viaggi e peripezie trova sé process, given that any artist’s works are a form of endless self- stesso; una metafora del processo artistico, in quanto le opere di portrait. In the same interview Dine spoke of techniques, of pastels, un artista rappresentano un continuo autoritratto. Nella stessa pencil and watercolour, and of how the creative process involves intervista parlava delle sue tecniche, pastello, matita e acquerelli, e adjustments and corrections. In the self-portrait that features in this di come intervenissero pentimenti o ripensamenti nel processo exhibition one senses that Jim uses pencil or charcoals as though creativo. Nell’autoritratto in mostra si percepisce che Jim usa they were brushes and his drawings thus have a tender and fluid matite o carboncini come pennelli, per cui i disegni hanno anche quality to them. At the Accademia Nazionale di San Luca he presents connotazioni di acquoso e di tenero. All’Accademia Nazionale di a dialogue between himself and statues: a group of sculptures, San Luca Dine propone un dialogo tra sé stesso e statue, come resembling those made in Tanagra in ancient Greece, silently quelle piccole di Tanagra della Grecia antica, in un muto colloquio conversing with his self-portrait – which in this case is as colossal as con il suo autoritratto, grande come una testa olmeca e, sullo an Olmec head – and, behind them, the walls become the support sfondo, le pareti diventano il supporto delle sue poesie. La for his poems. The complex and strategic presence of the written complessa e strategica presenza della poesia scritta rimanda a tante words of poetry evokes a host of contrasting images that speak of immagini contrastanti che evocano l’idea del potere, del ricordo, power, of recollection, of memory and of a distant past. In purely della memoria e di un remoto passato. In termini puramente perceptual/iconographic terms, the volume and scale of the white percettivi-iconografici, per volume e per grandezza, il bianco self-portrait is redolent not just of Olmec heads but also of the great autoritratto, oltre che alle teste olmeche, rimanda alle grandi teste bronze heads of ancient statues, and its whiteness, too, evokes di bronzo delle statue e il colore bianco evoca immagini antiche di images of tyrants and emperors.
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    Walker Art Center Exhibition Chronology Title Opening date Closing date Living Minnesota Artists 7/15/1938 8/31/1938 Stanford Fenelle 1/1/1940 ?/?/1940 Grandma’s Dolls 1/1/1940 ?/?/1940 Parallels in Art 1/4/1940 ?/?/1940 Trends in Contemporary Painting 1/4/1940 ?/?/1940 Time-Off 1/4/1940 1/1/1940 Ways to Art: toward an intelligent understanding 1/4/1940 ?/?/1940 Letters, Words and Books 2/28/1940 4/25/1940 Elof Wedin 3/1/1940 ?/?/1940 Frontiers of American Art 3/16/1940 4/16/1940 Artistry in Glass from Dynastic Egypt to the Twentieth Century 3/27/1940 6/2/1940 Syd Fossum 4/9/1940 5/12/1940 Answers to Questions 5/8/1940 7/1/1940 Edwin Holm 5/14/1940 6/18/1940 Josephine Lutz 6/1/1940 ?/?/1940 Exhibition of Student Work 6/1/1940 ?/?/1940 Käthe Kollwitz 6/1/1940 ?/?/1940 Walker Art Center Exhibition Chronology Title Opening date Closing date Paintings by Greek Children 6/1/1940 ?/?/1940 Jewelry from 1940 B.C. to 1940 A.D. 6/27/1940 7/15/1940 Cameron Booth 7/1/1940 ?/?/1940 George Constant 7/1/1940 7/30/1940 Robert Brown 7/1/1940 ?/?/1940 Portraits of Indians and their Arts 7/15/1940 8/15/1940 Mac Le Sueur 9/1/1940 ?/?/1940 Paintings and their X-Rays 9/1/1940 10/15/1940 Paintings by Vincent Van Gogh 9/24/1940 10/14/1940 Walter Kuhlman 10/1/1940 ?/?/1940 Marsden Hartley 11/1/1940 11/30/1940 Clara Mairs 11/1/1940 ?/?/1940 Meet the Artist 11/1/1940 ?/?/1940 Unpopular Art 11/7/1940 12/29/1940 National Art Week 11/25/1940 12/5/1940 Art of the Nation 12/1/1940 12/31/1940 Anne Wright 1/1/1941 ?/?/1941 Walker Art Center Exhibition Chronology Title
  • A LFR ED O V O L P I T He P O Etics O F C O Lo Ur

    A LFR ED O V O L P I T He P O Etics O F C O Lo Ur

    ALFREDO VOLPI The Poetics of Colour Nouveau Musée National de Monaco ALFREDO VOLPI The Poetics of Colour Francisco Rebolo, Alfredo Volpi, Paulo Rossi Osir, Nelson Nóbrega and Mário Zanini, 1930s FOREWORD 7 ALFREDO VOLPI: COLOUR IN ALL ITS STATES 9 INSTITUTO ALFREDO VOLPI DE ARTE MODERNA 11 THE MONACO EXHIBITION Cristiano Raimondi 14 VOLPI Lorenzo Mammì 22 THE COMPLEXITY OF SILENCE Jacopo Crivelli Visconti 52 AUTHORS 60 WORKS 62 TEXTES EN FRANÇAIS 163 TEXTOS EM PORTUGUÊS 195 ALFREDO VOLPI La poétique de la couleur 228 BIOGRAPHY AND EXHIBITIONS 244 — BIBLIOGRAPHY 253 IMPRINT 254 6 FOREWORD Presenting the work of Alfredo Volpi at the Nouveau Musée National de Monaco means paying tribute to a man who spent his life extolling and promulgating the Brazil of his time through the use of colour and simplified forms. Volpi’s façades immerse us in a subtle and refined world, while his masts and flags convey the atmospheres of the ‘festas juninas’ with a delicacy and poetry of which only a great master is capable. Brazil and the Principality of Monaco are once again linked through art and research, and by the long-standing relationship between our country and our distant friends on the other side of the ocean. Volpi is a welcome guest here, where great artists and avant-gardes have developed, and I am more than happy to participate in the international exposition of this poet of colour, an exceptional painter in his great simplicity. H.R.H. The Princess of Hanover 7 8 ALFREDO VOLPI: COLOUR IN ALL ITS STATES It is a rare privilege to be able to display the work of Alfredo Volpi, an artist almost unknown in Europe.