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Modern & Contemporary Art
This engrossing volume takes us on a fascinating visual journey through the most groundbreaking and avant-garde art of the early 20th century to the present. Stunning, high-quality photographs of major artworks accompany illuminating discussions of the masters of modern and contemporary painting, sculpture, architecture, and conceptual art. Here are giants of invention such as Picasso and Matisse, the German expressionists, Dadaists, constructivists, surrealists, abstract expressionists, minimalists, pop artists, and today’s cutting-edge creators. They’re all carefully placed in cultural context, with ideas, movements, events, artists, and works beautifully examined. Scholars, art aficionados, students, gallery owners, and art historians will all find this mainstream, accessible guide appealing.
Italian Art. Painting, Sculpture, Architecture from the Origins to the Present Day
Tre storici dell'arte, con un linguaggio accessibile anche al grande pubblico, ricompongono, ciascuno per i temi di cui è specialista, il grande affresco dell'arte italiana: dall'epoca medioevale fino ai nostri giorni, dalle miniature romantiche alle performances più recenti di nomi ormai noti anche oltreoceano, come Cattelan. L'arte italiana è illustrata attraverso le vite degli artisti e dei loro capolavori.
Innatura
None
Exhibiting Italian Art in the United States from Futurism to Arte Povera
This volume explores how Italian institutions, dealers, critics, and artists constructed a modern national identity for Italy by exporting – literally and figuratively – contemporary art to the United States in key moments between 1929 and 1969. From artist Fortunato Depero opening his Futurist House in New York City to critic Germano Celant launching Arte Povera in the United States, Raffaele Bedarida examines the thick web of individuals and cultural environments beyond the two more canonical movements that shaped this project. By interrogating standard narratives of Italian Fascist propaganda on the one hand and American Cold War imperialism on the other, this book establishes a more ...
Feminism and Art in Postwar Italy
A renowned art critic of the 1960s, Carla Lonzi abandoned the art world in 1970 to found Rivolta Femminile, a pioneering feminist collective in Italy. Rather than separating the art world luminary from the activist, however, this book looks at the two together. It demonstrates that even as Lonzi refused art, she articulated how feminist spaces and communities drew strength from creativity. The eleven essays in this book document the artistic and feminist circles of postwar Italy, a time characterised both by radical protest and avant-garde aesthetics, using primary and archival sources never before translated into English. They map Lonzi's deep connections to the influential Italian Arte Povera movement, and explore her complicated relationship with female artists of the time, such as Carla Accardi and Suzanne Santoro. Carla Lonzi's written work and activism represents a crucial, but previously overlooked, feminist intervention in traditional art history from beyond the Anglo-American canon. This book is a timely and urgent addition to our understanding of radical politics, separatist feminism and art criticism in the postwar period.
Postwar Italian Art History Today
Postwar Italian Art History Today brings fresh critical consideration to the parameters and impact of Italian art and visual culture studies of the past several decades. Taking its cue from the thirty-year anniversary of curator Germano Celant's landmark exhibition at PS1 in New York – The Knot – this volume presents innovative case studies and emphasizes new methodologies deployed in the study of postwar Italian art as a means to evaluate the current state of the field. Included are fifteen essays that each examine, from a different viewpoint, the issues, concerns, and questions driving postwar Italian art history. The editors and contributors call for a systematic reconsideration of the artistic origins of postwar Italian art, the terminology that is used to describe the work produced, and key personalities and institutions that promoted and supported the development and marketing of this art in Italy and abroad.
Il Pensiero, LVII, 1, 2018. Fuori luogo
In questo numero. Al Lettore. Saggi: MASSIMO ADINOLFI, Dieci paragrafi sul luogo della filosofia; ANDREA TAGLIAPIETRA, Il filosofo come gaffeur. Per finirla con l’eroismo del pensiero; FLAVIO CUNIBERTO, Il luogo degli oggetti fuori luogo. Riflessioni sul museo come forma simbolica della modernità; MICHELE DANTINI, Religioni politiche. La storia dell’arte alla prova degli studi su fascismo, antifascismo e Resistenza; CARLO GALLI, Vecchie e nuove “perdite del centro”; WALTER TOCCI, La politica fuori luogo; ALFONSO DI PROSPERO, Gli spazi vuoti della comunicazione: i luoghi impossibili del significato; VINCENZO VITIELLO, ΥΨΙΠΟΛΙΣ ΑΠΟΛΙΣ; PIERO CODA, Uscire dall’accampamento verso di Lui. Fede cristiana e paradosso del “luogo”. In dialogo: VINCENZO VITIELLO, Da Kelsen e Schmitt a Benjamin e Vico. Discutendo con Biagio de Giovanni; BIAGIO DE GIOVANNI, Risposta a Vincenzo Vitiello. Corsivo: SILVIO PERRELLA, I luoghi ci battezzano. Fascicolo a cura di Massimo Adinolfi
Murder and Media in the New Rome
This book explores a sensational crime and trial that took place in Rome in the late 1870s, when the bloody killing of a war hero triggered a national spectacle. A young southern wife’s murder of her impotent soldier husband exploded into the first great “media circus” in the new nation of Italy. The trial of the widow and her acrobat lover shocked the young nation not only with its gruesome details, but also because masses of women flocked to the court, took sides and heatedly reacted to testimony, as a new generation of newspapers exploited the scandal to enchant an untapped readership. Largely ignored by historians, the Fadda Affair, as it was called, crucially shaped the young nation’s self-image, but it still resists reduction to historiographical formula, even as its raucous messiness presages the postmodern centrality of performance and the displacement of substance by sensation.
Fascist Modernism in Italy
Between 1917 to 1975 Germany, Italy, Portugal, the Soviet Union, and Spain shifted from liberal parliamentary democracies to authoritarian and totalitarian dictatorships, seeking total control, mass consensus, and the constitution of a 'new man/woman' as the foundation of a modern collective social identity. As they did so these regimes uniformly adopted what we would call a modernist aesthetic – huge-scale experiments in modernism were funded and supported by fascist and totalitarian dictators. Famous examples include Mussolini's New Rome at EUR, or the Stalinist apartment blocks built in urban Russia. Focusing largely on Mussolini's Italy, Francesca Billiani argues that modernity was int...
In Defense of Don Giovanni
Who wants to champion the figure of Don Giovanni in the time of Harvey Weinstein and #MeToo? Don Giovanni is a rapist, murderer, serial seducer, and a liar. Can he ever be held up as a role model or seen as a figure to be enjoyed? This is the task that the eminent Italian historian and lifelong feminist, Luisa Passerini, sets for herself in In Defense of Don Giovanni. As she developed the long arc of her distinguished career, Don Giovanni surprisingly became not only her role model but also a secret object of research.Taking her method from oral history, Passerini creates a series of characters with whom she discusses the forms and incarnations of the myth of Don Giovanni across time, from i...
