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New Histories of Art in the Global Postwar Era
This book maps key moments in the history of postwar art from a global perspective. The reader is introduced to a new globally oriented approach to art, artists, museums and movements of the postwar era (1945–70). Specifically, this book bridges the gap between historical artistic centers, such as Paris and New York, and peripheral loci. Through case studies, previously unknown networks, circulations, divides and controversies are brought to light. From the development of Ethiopian modernism, to the showcase of Brazilian modernity, this book provides readers with a new set of coordinates and a reassessment of well-trodden art historical narratives around modernism. This book will be of interest to scholars in art historiography, art history, exhibition and curatorial studies, modern art and globalization.
Purity Is a Myth
Presenting new scholarship, this publication is an innovative technical study of the Concrete art movement in Latin America. Purity Is a Myth presents new scholarship on Concrete art in Argentina, Brazil, and Uruguay from the 1940s to the 1960s. Originally coined by the Dutch artist Theo van Doesburg in 1930, the term concrete denotes abstract painting with no reference to external reality. Van Doesburg argued that there was nothing more real than a line, color, or plane. Artists such as Willys de Castro, Lygia Clark, Waldemar Cordeiro, Hermelindo Fiaminghi, Judith Lauand, Raúl Lozza, Tomás Maldonado, Hélio Oiticica, and Rhod Rothfuss would reinvent this concept in postwar Latin America. ...
Getty Research Journal, No. 19
The Getty Research Journal is an open-access publication presenting peer-reviewed articles on the visual arts of all cultures, regions, and time periods. The journal will be published through Getty’s Quire software beginning with this issue and made available free of charge in Web, PDF, and e-book formats. Topics relate to Getty collections, initiatives, and broad research interests. The journal welcomes a diversity of perspectives and methodological approaches, and seeks to include work that expands narratives on global cultures. This issue features essays on a fragmentary Kufic Qurʼan of Early Abbasid style produced in Central Iran; cuttings from a twelfth-century Bible written in south...
Housing, Urban Commons and the Right to the City in Post-Crisis Rome
This book tells the story of Metropoliz, a vacant salami factory located in the Eastern periphery of Rome (Italy) that was squatted in 2009 by homeless households with the cooperation of the Housing Rights Movement Blocchi Precari Metropolitani, and progressively reconverted into the house and museum spaces that form the Città Meticcia (the mestizo city). Through a vivid activist-ethnographic account, Margherita Grazioli suggests that Metropoliz exemplifies a practice of grassroots urban regeneration that speaks to the conflicted reconfiguration of real estate urban regimes in a post-crisis, post-neoliberal scenario. Using the contentious reappropriation of housing as a point of departure for claiming manifold rights, Metropoliz represents an alternative model of urbanity and habitation that will inspire contemporary urban social movements concerned with the demand of the ‘right to the city’, as well as those concerned with the ontology of the urban commons.
2023
This thirteenth volume of the International Yearbook of Futurism Studies explores some of the many facets of Neo-Futurism from the second half of the twentieth century to the present day. It looks both at the revival and the continuation of Futurist aesthetics, whether in explicit or palimpsest form, in a variety of media: literature, visual art, design, music, architecture, theatre and photography. The essays delve into the broad spectrum of artistic research and offer a good dozen case studies that document, with a transnational and interdisciplinary orientation, the manifold forms of Neo-Futurism in various parts of the world. They investigate how historical Futurism's intellectual and artistic perspective was appropriated and developed further in a more or less conscious, faithful and original way, all the while confronting its progenitor's cultural, social and political misconceptions. Interdisciplinary contributions to neo-futurism as a global phenomenon
In Viaggio con Ufagr
Antonio Fiore, nato a Segni nel 1938, è considerato dalla critica specialistica l'erede dei futuristi dell'ultima generazione. Non si considera però un epigono del movimento marinettiano, bensí un continuatore dello spirito futurista, lo stesso che gli trasmisero direttamente alcuni protagonisti dell'ultimo Futurismo con i quali ebbe rapporti intensi e fecondi. Fu infatti Sante Monachesi nel 1978 ad indirizzarlo verso la ricerca post futurista facendolo aderire al Movimento AGRÀ che aveva fondato nel 1962, battezzandolo futuristicamente UFAGRÀ (Universo Fiore AGRÀ). Conobbe anche Francesco Cangiullo, famoso poeta parolibero futurista, che gli trasmise suggestioni per i contenuti delle ...
La “realtà del disegno” nell’opera di Cesare Tacchi
La “realtà del disegno” è una realtà altra, quella in cui Cesare Tacchi sente di poter esprimere il pensiero liberamente, oltre che le emozioni. La riproduzione di un paesaggio, di una scena, di un’immagine non è mai necessariamente interdipendente con la sua rappresentazione. In questa bolla astratta dalla realtà nota, il ragionamento elabora progetti e immagina scenari futuribili. Attraverso la rappresentazione si stravolge la verità degli oggetti e si può mettere in luce la contraddittorietà del pensiero convenzionale; si giunge, attraverso il disegno, all’analisi dell’intimo del collettivo, e alla comprensione profonda dei ruoli sociali. Per Cesare Tacchi “disegnare è molto vicino al pensare, proprio perché è un pre-linguaggio, un linguaggio muto, che chiede di essere parlato. Alle volte è un racconto, altre un progetto. Alle volte è un insieme di simboli, altre volte di forme”.
