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Against the Avant-garde
"This book casts the poet and filmmaker Pier Paolo Pasolini in a fresh light: his life and work in relation to the visual and performance arts of his time in both Europe and the US. Lavishly illustrated with both documentary and fine art images, it shows how essentially conservative Pasolini was politically and aesthetically despite his reputation as an avant-garde writer and filmmaker. But it also shows how truly advanced Pasolini was when it comes to interdisciplinary art, making him enormously relevant today"--
Futurism: a Very Short Introduction
From the motorcar to the radio, modern technology radically transformed urban life by the first decade of the twentieth century. This Very Short Introduction explores the ideas, works, key figures, and development of the Futurist movement in Italy and beyond, in the context of the turmoil and rapid change of the early 20th Century.
Giorgio de Chirico and the Metaphysical City
Painted in Paris on the eve of World War One, the Metaphysical cityscapes of Giorgio de Chirico (1888-1978) redirected the course of modernist painting and the modern architectural imagination alike. Giorgio de Chirico and the Metaphysical City examines the two most salient dimensions of the artist’s early imagery: its representations of architectural space and its sustained engagement with the philosophy of Friedrich Nietzsche. Centering upon a single painting from 1914 – deemed by the painter “the fatal year” – each chapter examines why and how de Chirico’s self-declared “Nietzschean method” takes architecture as its pictorial means and metaphor. The first, full-length study in English to focus on the painter’s seminal work from pre-war Paris, the book places de Chirico’s “literary” images back in the context of the city’s avant-garde, particularly the circle of Guillaume Apollinaire. Merjian’s study sheds light on one of the most influential and least understood figures in 20th-century aesthetics, while also contributing to an understanding of Nietzsche’s paradoxical consequences for modernism.
Aram's Notebook
A mother and son's fictional journey to escape the Armenian Genocide and start anew. Like any other fifteen-year-old boy, Aram might never have written the events of his still young life, except that he found himself suddenly plunged into exile, fleeing certain death. In 1915, the Ottoman authorities undertook the wholesale extermination of the Armenian people; hundreds of thousands of men, women, and children like Aram suffered one of the twentieth century's most savage persecutions. Inspired by the plight of the murdered modernist poet Daniel Varoujan (1884-1915), this novel follows Aram and his widowed mother on their flight toward a new life on--and under--the sea. From recollections of his father's meditations on Homer to a life-changing apprenticeship as a coral fisherman off the coasts of Cataluña and Marseille, Aram's tale dives into a future that might help redeem a harrowing past. Aram's Notebook examines the Armenian Genocide through a narrative in which poets and poetry loom large. Aram's tale evokes a struggle not simply for physical survival, but for saving memory from the clutches of destruction. Evocatively translated from the original Catalan by Ara Merjian.
Seeing Through Closed Eyelids
Presentness and Trace -- An Artist Turned Inside Out -- Radical Reciprocity: Passive Sculptor/Active Material -- Tempus Arborus (Tree Time).
The Talismanic Lens
Exhibition catalog, Frey Norris Gallery Annex, San Francisco, Feb. 7-Mar. 30, 2008.
Heretical Aesthetics
One of Europe's most mythologized Marxist intellectuals of the 20th century, Pier Paolo Pasolini was not only a poet, filmmaker, novelist, and political martyr. He was also a keen critic of painting. An intermittently practicing artist in his own right, Pasolini studied under the distinguished art historian Roberto Longhi, whose lessons marked a life-long affinity for figurative painting and its centrality to a particular cinematic sensibility. Pasolini set out wilfully to "contaminate" art criticism with semiotics, dialectology, and film theory, penning catalogue essays and exhibition reviews alongside poems, autobiographical meditations, and public lectures on painting. His fiercely idiosy...
Self-portrait
Recorded and transcribed throughout the 1960s, Carla Lonzi's Self-portrait ruptures the linear tradition of art-historical writing. Lonzi first abolishes the role of the critic, her own, seeking change over self-preservation by theorising against the act of theorising. This is the voice of feminist experimentalism in Italian art and literature, and here Lonzi speaks for herself in English. Self-portrait montages her verbatim conversations with fourteen prominent artists working at the time, all men except one. Lonzi's vital feeling that it was impossible to respond professionally to the political and existential problems embedded in the production and distribution of artworks drives the book's contingent structure. Artmaking struck Lonzi as the invitation to be together in a humanly satisfying way. This first English translation brings Lonzi's final work of criticism before her break with 'art' to an international audience. Her uncompromising enactment and pragmatic drop-out discontinues the narration of postwar modern art in Italy and beyond.
Avedon/Warhol
"My camera and I, together we have the power to confer or to take away." --Richard Avedon "They always say time changes things, but you actually have to change them yourself." --Andy Warhol Artists Richard Avedon (1923-2004) and Andy Warhol (1928-1987) came to prominence in a time of profound change around the world. Amid that political and social upheaval, both men became renowned for their work, elucidating themes of portraiture, celebrity, gender, politics, and religion. Avedon brought the personality of the sitter to the forefront, revealing his subjects' inner selves. Warhol created por- traits and images that were emotionally opaque, glamorous and impersonal. Avedon and Warhol knew one another, and each had an abiding belief in the power of the image to seduce, amuse, and shock . They created original visions of the world around them, becoming two of the most influential artists of the 20th century. This book, published by Gagosian Gallery, accompanies an exhibition at Gagosian, Britannia Street, London, Feb 9-April 23, 2016.
Fragments of Totality
A new history of Futurism and its fraught ideological ambitions, centered on sculptural experimentation As the first comprehensive avant-garde of the twentieth century, Italian Futurism sought to integrate modern life with every imaginable aesthetic medium. The detached materiality of sculpture offered a singular proving ground for the drive to merge art and existence. Sculpture's theory and practice offers a distillation of Futurism's larger aims and frustrations: a will to mechanize haunted by the tradition of craft; the liberation of flight burdened by mass and gravity; the lyrical mutiny of form chastened by the exigencies of design; and a dream of totality splintered by the contingency ...
