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Restoration as Fabrication of Origins
The aim of this publication is to clarify the relationships between material restoration and politics in Italian Renaissance art. The focus of this research is on the question of origin as a foothold for political, patrimonial, and cultural identity. These claims were enacted within a system which, rather than restoring the initial forms and meanings of existing objects, remodeled the past according to new identity requirements: spaces were reorganized, and works of art invested with new meanings. Their material and aesthetic reality was thus transformed and redefined. The aim is therefore to analyze the potential physical modifications of these artefacts in light of their symbolic recoding. With contributions by Kathleen W. Christian, Caroline S. Hillard, Mateusz Kapustka, Jérémie Koering, Victor Lopes, Florian Métral, Arnold Nesselrath, Neville Rowley, Beat Wyss. Restoration practices in Italian Renaissance art Reassessing the concept of Renaissance Recoding of ancient works for political purposes
The Materiality of Terracotta Sculpture in Early Modern Europe
Through meticulously researched case studies, this book explores the materiality of terracotta sculpture in early modern Europe. Chapters present a broad geographical perspective showcasing examples of modelling, firing, painting, and gilding of clay in Portugal, Spain, Italy, Germany, and the Netherlands. The volume considers known artworks by celebrated artists, such as Luca della Robbia, Andrea del Verrocchio, Filipe Hodart, or Hans Reichle, in parallel with several lesser-studied terracotta sculptures and tin-glazed earthenware made by anonymous artisans. This book challenges arbitrary distinctions into the fine art and the applied arts, that obscured the image of artistic production in the early modern world. The centrality of clay in the creative processes of artists working with two- and three-dimensional artefacts comes to the fore. The role of terracotta figures in religious practices, as well as processes of material substitutions or mimesis, confirm the medium’s significance for European visual and material culture in general. This book will be of interest to scholars working in art history, Renaissance studies, and material culture.
Italy for Sale
In the late nineteenth and early twentieth centuries, Italian Renaissance art, objects, and even the idea of Italy itself figured heavily both in the dynamic international art market and in the eyes of the general public. The alternative objects that were actively dispersed and collected -- authentic works, pastiches, Renaissance-inspired counterfeits, and reproductions -- in the diverse media of paint, plaster, terracotta, and photography, had a tremendous impact on visual culture across social strata. These essays examine less studied aspects of this market through the lens of just a few of the countless successful sales of objects out of Italy.
40 Years World Heritage Convention
Since the adoption of the World Heritage Convention in 1972, the notion that cultural and natural heritage need to be protected and properly utilized has gained popularity. Over time, however, such utilization concepts were less focused on ideas of sustainability and became increasingly influenced by commercial interests. For the first time, this publication attempts to elaborate the development of the World Heritage Convention, the Convention itself in its different facets and how it evolved into one of the most important UNESCO instruments for the protection of cultural and natural heritage. It will be shown that the protection and utilization of heritage is a highly complex political, participatory and interdisciplinary process. This publication discusses these developments and suggests potential solutions in order to deal with such unintended trends.
Conversations about Sculpture
“The rhythm of the body moving through space has been the motivating source of most of my work.”—Richard Serra Drawn from talks between celebrated artist Richard Serra and acclaimed art historian Hal Foster held over a fifteen-year period, this volume offers revelations into Serra’s prolific six-decade career and the ideas that have informed his working practice. Conversations about Sculpture is both an intimate look at Serra’s life and work, with candid reflections on personal moments of discovery, and a provocative examination of sculptural form from antiquity to today. Serra and Foster explore such subjects as the artist’s work in steel mills as a young man; the impact of musi...
Rob Krier
As an architect, urban planner and sculptor, Rob Krier has created a multifaceted oeuvre which is presented here in a comprehensive manner for the first time. After graduating, Krier first worked with O. M. Ungers and Frei Otto before setting up his own studios in Vienna and Berlin. He later taught at the Vienna University of Technology from 1976 to 1998 and as a visiting professor at Yale University in 1986. Drawing on a wealth of historical models and archetypal patterns, he developed new typologies of streets and public squares as an architect and urban planner, and was responsible for numerous urban development projects throughout Europe. These included the perimeter block development on Ritterstrasse for the IBA in Berlin, the residential complex on Breitenfurter Strasse in Vienna, the Kirchsteigfeld district in Potsdam, and numerous projects in the Netherlands.
Where is Ana Mendieta?
An analysis of the career of Ana Mendieta, a Cuban-American feminist artist who came to prominence in the late 70s and early 80s, in terms of gender and performance theory.
Gli uomini nei muri (Urania)
GLI UOMINI NEI MURI (1968) La Terra è stata conquistata da alieni giganti, dotati di una tecnologia avanzatissima, e il genere umano ha trovato il modo di sopravvivere, quasi prosperare, come parassita. Uomini e donne vivono nelle case aliene come topi, nascosti in tane e sgusciando tra i loro piedi e rubando per vivere: le donne trasmettono la conoscenza e lavorano come guaritrici, gli uomini sono guerrieri e ladri. Per gli alieni, il genere umano è solo una seccatura, di certo non viene neanche considerato un avversario degno. È un parassita, da sterminare. Ma proprio questo aspetto potrebbe essere la forza dell'umanità, indicando la strada da seguire agli uomini e alle donne nei muri.
