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Ugo Mulas
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New York; the New Art Scene
"Inspired by the strong American presence at the 1964 Venice Biennale, the Italian photographer Ugo Mulas made three extended visits to New York over the following years. The result, a massive, handsomely designed volume called New York: The New Art Scene, captures the art world at one of its most volatile and vivid peaks. ... The artists posed for [Mulas--and the book is peppered with terrifically dashing portraits--but more often they went about their business, making art, making dinner, entertaining, carrying on. With more than 500 photos reproduced in heavily inked, knockout black and white, the book has a marvelous scope."--The Book of 101 Books : Seminal Photographic Books of the Twentieth Century / Edited by Andrew Roth. New York: PPP Editions in association with Ruth Horowitz, 2001.
Ugo Mulas/Alexander Calder
Extraordinary images of Calder's scuolptures by Ugo Mulas, one of Italy's premier photographers.
Ugo Mulas: Creative Intersections
An insider's photographic history of postwar Italian and American art Beginning his career in 1940, Italian photographer Ugo Mulas (1928-73) became a central figure in documenting postwar contemporary art. This volume presents Mulas' black-and-white photographs--two decades of the Venice Biennale, New York in the 1960s, and close friends and artists Fontana, Consagra, Melotti and Pisoletto.
Ugo Mulas, Vitalità Del Negativo
Documentation as art: Ugo Mulas' reportage on the exhibition "Vitalità del negativo nell'arte italiana 1960-1970" (Rome, 1970) and the Italian avant-garde.
Ugo Mulas: The Process of Photography
This is the largest monograph to date for Italian photographer Ugo Mulas (1928-73), known for his street photography capturing the downtown New York art scene in the '60s, as well as his portraits of iconic artists such as Robert Rauschenberg, Lucio Fontana, Andy Warhol and others.
David Smith in Italy
The late David Smith is regarded worldwide as one of the most important American sculptors. Through the photographs of Uga Mulas, "David Smith in Italy" documents the exhibition of his work as it was displayed at in Milan's dramatic PradaMilanoArte. The exhibition was comprised of works that were loaned by the most prestigious private and institutional collections in the United States, and was curated by Smith's daughter. It included 13 large sculptures, 24 mixed-media works, watercolors and several original photographs by Mulas. Smith's artistic relationship with Mulas (and indeed with Italy) dates back to 1962, when Smith created an exhibition for the Spoleto Two Worlds Festival and was photographed by Mulas.
Art as Jewellery
"The women in Man Ray's life, as well as his reverence for the female form more broadly, were reflected in his jewellery. He kept the wearer in mind with each piece; never impractical or obtrusive, his jewels played with illusion, language and form as he employed the medium to further explore the artistic preoccupations of his career." Art as Jewellery is a visually stunning introduction to jewellery made by the titans of twentieth and twenty-first century art. From Salvador Dali, Man Ray, Alexander Calder and Pablo Picasso, through to Anish Kapoor, Damien Hirst and Grayson Perry, the great figures of modern art have all turned both thought and talent to jewellery. Often, they have eschewed ...
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.
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