Putnam Valley Boy Killed During Storm Magazzino, Or Museo?
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Luisa Rabbia
GALLERY PETER BLUM LUISA RABBIA PETER BLUM GALLERY LUISA RABBIA Born 1970 in Pinerolo (Torino, Italy) Lives and works in Brooklyn, New York SELECTED SOLO EXHIBITIONS 2020 From Mitosis to Rainbow, Peter Blum Gallery, New York, NY 2018 Death&Birth, Peter Blum Gallery, New York, NY 2017 Love, Collezione Maramotti, Reggio Emilia, Italy (catalogue) 2016 Territories, Frieze Art Fair, Peter Blum Gallery, New York, NY A Matter of Life, RLWindow, Ryan Lee Gallery, New York, NY 2014-15 Drawing, Peter Blum Gallery, New York, NY Waterfall, installation for the façade of the Isabella Stewart Gardner Museum, Boston, MA Everyone, Studio Eos, Rome, Italy 2012 Coming and Going, Peter Blum Chelsea, New York, NY 2010 Luisa Rabbia, Fundación PROA, Buenos Aires, Argentina, curated by Beatrice Merz (catalogue) You Were Here. You Were There, Galerie Charlotte Moser, Genève, Switzerland 2009 Luisa Rabbia: Travels with Isabella. Travel Scrapbooks 1883/2008, Fondazione Querini Stampalia, Venezia, Italy In viaggio sotto lo stesso cielo, Fondazione Merz, Torino, Italy, curated by Beatrice Merz 2008 Travels with Isabella. Travel Scrapbooks 1883/2008, Isabella Stewart Gardner Museum, Boston, MA, curated by Pieranna Cavalchini (catalogue) 2007 Yesterdaytodaytomorrow, Mario Diacono Gallery, Boston, MA Together, Galleria Rossana Ciocca, Milano, Italy Luisa Rabbia, Massimo Audiello Gallery, New York, NY 2006 Luisa Rabbia, Marta Cervera Gallery, Madrid, Spain 2005 ISLANDS, GAMeC Galleria d'Arte Moderna e Contemporanea Raffaele de Grada, San Gimignano, Italy, curated by -
Celebrating 50 Years of Arte Povera Published on Iitaly.Org (
Celebrating 50 Years of Arte Povera Published on iItaly.org (http://www.iitaly.org) Celebrating 50 Years of Arte Povera Alexandra M. Fanelli (December 28, 2017) The Italian art movement comes back this year with roaring success as the protagonist of several shows conquering New York's art scene as well as Europe's. It was November 1967, two months after his exhibition “Arte Povera e IM Spazio” at Genoa’s Galleria La Bertesca, that the Italian critic Germano Celant [2] published a manifesto on Flash Art magazine that would theorize and launch the Arte Poveramovement. The Origins Literally translated as ‘poor art’, the title refers to a group of Italian anti-establishment artists who, during the period of turmoil at the end of the 1960s in Italy, attacked the established ideals and the superficial consumer culture with unconventional materials and style. The term “poor” was not an indication of cheap, rather a reference to the artists’ use of humble, unconventional often ephemeral materials -wood, dirt, rags, steel, sacks, vegetables- alluding as well to the Polish director Jerzy Grotowski’s concept of “poor theater,” which stripped away lavish costumes and detailed sets and encouraged the actor’s relationship with the audience. Page 1 of 3 Celebrating 50 Years of Arte Povera Published on iItaly.org (http://www.iitaly.org) The poveristi favored an art form that was more conceptual and got rid of unnecessary layers, as a rejection of traditional 'high' art. “Arte Povera was concerned with taking away, eliminating, and downgrading things to a minimum,” said Mr. Celant. Among the core figures associated with the movement are Giovanni Anselmo [3], Alighiero Boetti [4], Jannis Kounellis [5], Michelangelo Pistoletto [6], Giuseppe Penone [7], Alberto Burri [8], Lucio Fontana [9], Emilio Prini [10], Pino Pascali [11], Enrico Castellani [12], Piero Manzoni [13], Luciano Fabro [14], Pier-Paolo Calzolari [15], Mario Merz [16], and his wife Marisa Merz [17], the only female member of Arte Povera. -
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1 Histories of PostWar Architecture 2 | 2018 | 1 1968: It’s Just a Beginning Ester Coen Università degli Studi dell’Aquila [email protected] An expert on Futurism, Metaphysical art and Italian and International avant-gardes in the first half of the twentieth century, her research also extends to the sixties and seventies and the contemporary scene, with numerous essays and other publications. In collaboration with Giuliano Briganti she curated the exhibition Pittura Metafisica (Palazzo Grassi, Venice 1979) and edited the catalogue, while with Maurizio Calvesi she edited the Catalogue Raisonné of Umberto Boccioni’s works (1983). She curated with Bill Lieberman the Boccioni retrospective at the Metropolitan Museum of New York in 1988 and has since been involved in many international exhibitions. She organised Richard Serra’s show at the Trajan’s Markets (Rome 1999), planned the Gary Hill show at the Coliseum (Rome 2005) and was one of the three committee members of the Futurism centenary exhibition (Pompidou Paris, Scuderie del Quirinale Rome and Tate Modern London) celebrating in the same year (2009) with Futurism 100: Illuminations. Avant-gardes Compared. Italy-Germany-Russia the anniversary at MART in Rovereto. In 2015 she focused on Matisse’s fascination for decorative arts (Arabesque, Scuderie del Quirinale Rome) and at the end of 2017 a show organized at La Galleria Nazionale in Rome anticipated the fifty years of the 1968 “revolution”. Full professor of Modern and Contemporary Art History at the University of Aquila, she lives in Rome. ABSTRACT 1968 marks the beginning of a social, political and cultural revolution, with all of its internal contradictions. -
THE ITALIAN SALE 20Th Century Italian Art at Christie's London This
For Immediate Release 1 September 2006 Contact: Milena Sales +44 207 389 2664 [email protected] THE ITALIAN SALE 20th Century Italian Art at Christie’s London this October Giorgio de Chirico (1888-1978) Lucio Fontana (1899-1968), Concetto spaziale, Mobili nella valle, 1927 Attese, 1963 (estimate: £500,000-£800,000) (estimate: £900,000-1,300,000) The Italian Sale Christie’s London 16 October 2006 at 7pm London – Christie's is pleased to announce the sixth sale of 20th Century Italian Art will take place on Monday 16 October 2006 at 7pm. Italian art continues to capture the interest and enthusiasm of private collectors and institutions worldwide and is currently an area of market growth. This autumn’s selection of Italian art will include major paintings and sculptures from Italy’s foremost modern and contemporary artists with examples spanning the key artistic movements of important Italian 20th century art. “20th Century Italian art is increasingly sought after on the international market and yet is still enticingly undervalued. Our high profile and selective sale in London this October will offer excellent opportunities for established and new collectors and institutions from all over the world,” said Olivier Camu, International Director, Christie’s London and a specialist in charge of the sale. “The highlight of the sale is a group of sculptures and paintings by Lucio Fontana, eloquent and elegant works that cover the range of his Spatialist adventures. Other highlights include a number of museum- quality paintings and sculptures by artists such as Giorgio de Chirico, Piero Manzoni, Pino Pascali, Mario Merz, and Alighero Boetti,” continued Mariolina Bassetti, a specialist in charge of the sale and Director of Modern and Contemporary Italian art, Christie’s Italy. -
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. -
La Libertá O Morte Freedom Or Death
Herning Museum of Contemporary Art: ‘La liberta o morte’, 2009 la libertá o morte freedom or death By Jannis Kounellis HEART Herning Museum of Contemporary Art opens its doors for the first time to present a retrospective exhibition of the works of the Italian artist Jannis Kounellis (B. 1936). This is the first major presentation of Kounelli’s works in Scandinavia, and the artist will create a number of new works for the exhibition. HEART owns the world’s largest collection of works by the Italian artist Piero Manzoni. In his early works from © AL the 1950s and 1960s Kounellis may well have been the D EN D one young artist whose sensibilities and choice of YL materials came closest to those of Manzoni. G TEEN : S : OTO F Untitled, 1993. Old seals and ropes. Variable dimensions HEART / HERNING MUSEUM OF CONTEMPORARY ART / JANNIS KOUNELLIS la libertá o morte freedom or death Freedom or death The HEART exhibition of Jannis Kounellis’ work derives its With its text, Untitled 1969 refers to the French Revolution and title from a piece created in 1969. Strictly speaking, the to two of the strongest champions of the Revolution. Marat title of the object is not even La Liberta o Morte. Like most and Robespierre both fell victim to their own fanaticism, but of Kounelli’s work the piece in question has no title, but the during their brief careers they also laid down the foundations statement or exclamation is the very essence of the work. of the ideals of freedom inherent within Western European Untitled, 1969 consists of a sheet of iron with dimensions democracy. -
Arte Povera Tate Modern, London, UK
MARIAN GOODMAN GALLERY Arte Povera Tate Modern, London, UK By Alex Farquharson (September 10, 2001) Unbelievably, 'Zero to Infinity' is the first survey of Arte Povera to be held in Britain. We've had solo, senior-status shows by many of its prime exponents - Luciano Fabro, Michelangelo Pistoletto, Jannis Kounellis, Giuseppe Penone, Alighiero Boetti - in recent memory, but no overview. The movement officially began in 1967, when the young critic-turneD-curator Germano Celant coined the Arte Povera moniker, and ended in 1970, when he took the unilateral decision to bury it and work with its individual participants. Usually it's the artists that reject the way their inDividualism has been subsumed by movements defined by critics or curators, but in Arte Povera's case it was the artists (most of them, at least) who wanted to keep the show on the road into the 1970s. This says a lot for the strange coherence of this most enigmatic of art movements, anD the relative isolation Italian artists experienced prior to their integration within international post- Minimalist tenDencies at the close of the DecaDe. The show's curators, RicharD FlooD from the Walker Art Center anD the Tate's Frances Morris, made the innovative decision to extend the time frame to include Arte Povera's immediate aftermath and its pre-history, when some of its slightly older practitioners (Pistoletto, Pino Pascali and Kounellis, for example) were beginning to be known individually. Academically, this move revealed the extent to which Arte Povera did or didn't come out of nowhere, and how, after its dissolution, the artists set out on the divergent, inDividually traDemarkeD careers we know toDay. -
Magazzino Italian Art Launches Magazzino Da Casa, a Series Of
Magazzino Italian Art Launches Magazzino da Casa, A Series of Digital Initiatives Encompassing Live-Streamed Artist Q&As, Scholarly Lectures, and New Video and Online Content Anchoring the Program will be Homemade, A New Digital Invitational Where New York-based Italian Artists Create and Share New Works From their Home Cold Spring, NY – March 30, 2020 (updated May 26) – Magazzino Italian Art announces the launch of Magazzino da Casa, a new series of digital programs dedicated to providing insightful new encounters with postwar and contemporary Italian art and artists through exclusive content on the museum’s website and social media platforms. Developed to counter current feelings of isolation and dislocation through fostering a sense of community around Italian art and creativity, Magazzino da Casa expands the museum’s public programming into the digital sphere, with live-streamed Q&As with artists including Marinella Senatore, the presentation of unreleased films relating to recent museum projects, the digitization of past exhibition catalogues, Instagram Live lectures by leading scholars from around the world, music playlists contributed by community members on Spotify, and more. Among the program’s highlights is Homemade, a new initiative inviting eight New York-based Italian artists to create and share new works from their homes in the coming weeks. Initiated to support and inspire artistic production, Homemade will feature regular project updates from each of the artists, shared via Magazzino’s Instagram, and ultimately the final works during the first week of June. Working from home, the artists will experiment with new materials, using what is available, as well as cultivate a new appreciation for current domestic realities. -
Incumbents Hold Seats
Reader-Supported News for Philipstown and Beacon Beacon Quarantine PAGE 12 NOVEMBER 6, 2020 Celebrating 10 Years! Support us at highlandscurrent.org/join Incumbents Hold Seats Voter turnout about the held off a second challenge from Demo- crat Karen Smythe, whom she defeated in same — just more voters 2018 by 688 votes of 118,000 cast. This time, Serino built a comfortable lead of about By Chip Rowe 19,500 votes that should hold up against any ncumbents in the Highlands held onto surge for her opponent in absentee ballots. their seats this week in the U.S. House, In the U.S. House, Sean Patrick Malo- I state Assembly and state Senate. ney, a Democrat and Philipstown resident, What Have We In the Assembly, Sandy Galef, whose district declared victory in his bid for a fifth term includes Philipstown, and Jonathan Jacobson, with 47 percent of the vote, saying the whose district includes Beacon, each easily absentee vote would only widen his margin Learned About Schools? won reelection. Both are Democrats. over Republican challenger Chele Farley. In the Senate, Sue Serino, a Republican, (Continued on Page 9) Students and teachers adjust to pandemic education By Jeff Simms Their first meeting, Landahl said, focused on handwashing. att Landahl, the super- By the second week of March, the intendent of the Beacon county executive, Marc Molinaro, had MCity School District, may joined the call, and the discussion have had more of an idea than most progressed to preparing for school that something was afoot before the closures and the deployment of laptops COVID-19 pandemic hit U.S. -
2700 Route 9 Cold Spring, NY 10516, USA Tel +1 845 666 7202 [email protected] 1 Magazzino Italian Art Foundation, the Embassy
For Immediate Release October 4 , 2018 Magazzino Italian Art Foundation, the Embassy of Italy, and the Italian Cultural Institute of Washington, DC present New Directions: Italian Contemporary Art in the United States Celebrating the International Day of Italian Contemporary Art (10/13/18 -https:// www.amaci.org/gdc/quattordicesima-edizione-giornata-del-contemporaneo), artist 2700 Route 9 Massimo Bartolini, art advocates and Magazzino Italian Art Foundation co-founders Cold Spring, NY 10516, USA Nancy Olnick and Giorgio Spanu, and art historian and curator Ilaria Bernardi will Tel +1 845 666 7202 discuss the current state of contemporary Italian art and emerging trends [email protected] Exhibition of artist Marco Anelli’s recent photography project, Building Magazzino, Follow Magazzino on social media: will be on view. @magazzino #magazzinoitalianart Event details Embassy of Italy Media Contact USA 3000 Whitehaven Street NW Juliet Vincente Washington, DC 20008 RESNICOW + ASSOCIATES [email protected] Thursday, October 11, 2018 212-671-5154 Doors open at 5:30 pm Media Contacts ITALY Panel discussion New Directions: Italian Contemporary Art, 6 – 7 pm Ambra Nepi Opening Reception Marco Anelli’s Building Magazzino, 7- 8 pm AMBRA NEPI COMUNICAZIONE [email protected] Event is open to the public with valid identification. Register in advance on Eventbrite + 39 348 654 3173 page linked here Washington, DC – On the occasion of the International Day of Italian Contemporary Graphics: Detail of an invitation to Art (October 11, 2018) organized by the Italian Contemporary Art Museum Association a Jannis Kounellis exhibition at Galleria (AMACI), Magazzino Italian Art Foundation, the Embassy of Italy, and the Italian La Tartaruga, Rome, 1960. -
Jannis Kounellis, Carla Lonzi and the Appropriation of The
JANNIS KOUNELLIS, CARLA LONZI AND THE APPROPRIATION OF THE WORKERISM MOVEMENT'S IDEAS IN UNTITLED (12 HORSES) AND AUTORITRATTO _______________ An Honors Thesis Presented to The Faculty of the Department of Art History University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Bachelor of Arts _______________ By Giulia Schirripa JANNIS KOUNELLIS, CARLA LONZI AND THE APPROPRIATION OF THE WORKERISM MOVEMENT'S IDEAS IN UNTITLED (12 HORSES) AND AUTORITRATTO _________________________ Giulia Schirripa APPROVED: _________________________ Natilee Harren, Ph.D. Committee Chair _________________________ Francesca Behr, Ph.D. _________________________ Leopoldine Prosperetti, Ph.D. _________________________ Andrew Davis, Ph.D. Dean, Founding Dean of the Kathrine G. McGovern College of the Arts 1 To my father and my sister, who supported me every step of the way. To Marshall, my first and favorite editor. 2 TABLE OF CONTENTS INTRODUCTION 5 CHAPTER 1- LIVES 12 Jannis Kounellis and Untitled (12 horses) 12 Carla Lonzi and Autoritratto 16 CHAPTER 2-POLITICAL AND HISTORICAL BACKGROUND 22 Italy in the 1960s 22 The political nature of Arte Povera 25 Theorizing Arte Povera 27 CHAPTER 3-ART AND WORKERISM 30 Political influences on Kounellis and Lonzi 30 Theoretical framework - Dewey and Eco 35 Kounellis - The Reconciliation of Artistic Freedom and Political Activism 38 CHAPTER 4 - THEORY AND PRACTICE 46 Theoretical appropriation in Untitled (12 horses) 46 Theoretical appropriation in Autoritratto 52 CONCLUSION 58 BIBLIOGRAPHY 59 3 Introduction There are historical moments that are of such vibrant intensity that they permeate every part of life. The twentieth century, with its violence and destruction, has had many of those type of moments. -
Magazzino Italian Art Announces Spring 2021 Program
Magazzino Italian Art Announces Spring 2021 Program Cold Spring, New York – January 29, 2021 – Magazzino Italian Art announces today a new slate of programming to premiere throughout the winter and spring. Including digital programs and in-person exhibitions, the museum will host an artist talk with Mel Bochner, a scholarly lecture series examining collaboration in the Arte Povera movement, a 2700 Route 9 new series of public programs exploring diversity in Italian art and culture , and a new Cold Spring, NY 10516, USA exhibition dedicated to the work of sculptor, muralist and designer Costantino Nivola, Tel +1 845 666 7202 among other notable initiatives. Magazzino’s upcoming season reflects the nonprofit’s [email protected] commitment to fostering new scholarship of and public engagement with Italian art and culture from the 1960s to present day. Follow Magazzino on social media: @magazzino “We are thrilled to introduce Magazzino Italian Art’s 2021 year of programming. After #MagazzinoItalianArt the challenges faced in 2020, we are proud to embark on a year of renewed activity, a program we feel embodies our cultivation of a strong commitment to the exploration of Media Contact USA concepts of diversity, inclusivity, and the value of collaboration,” says director Vittorio Juliet Vincente Calabrese, “Through this series of programs and exhibitions, we seek to amplify voices [email protected] and figures outside of traditional art historical narratives and see this reconfigured 212 348 6800 / 646 640 6586 curatorial and scholarly approach as a pillar for the advancement of fuller perspectives and analyses of subject matter we seek to make more known to our audiences.” Press Office ITALY Ambra Nepi More information on each program and how to participate follows below.