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Author: Salvatore Scarpitta
Publisher: Silvana
ISBN: 9788836621712
Category : Art
Languages : en
Pages : 0
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Book Description
American painter and sculptor Salvatore Scarpitta (1919-2007) spent his childhood in Hollywood, where he fostered a love of dirt track racing. He moved to Italy in 1936 to study painting, and later fostered friendships with artists such as Alberto Burri, Lucio Fontana and Piero Manzoni. Scarpitta's mature work was to emerge from a unique mid-terrain between the unlikely twin influences of drag racing and Arte Povera; it led to his well-known wrapped or bandaged paintings, shaped canvases and even to replica racing cars, which frequently saw service before being exhibited. In the 1970s he made a series of sleds, the first of which was bought by Willem de Kooning. Despite Scarpitta's associations with both Abstract Expressionists and Pop artists, his work remained on the fringes of the postwar period's defining movements. As his influence emerges on a younger generation, this volume assesses his oeuvre.
Author: Salvatore Scarpitta
Publisher: Silvana
ISBN: 9788836621712
Category : Art
Languages : en
Pages : 0
Get Book Here
Book Description
American painter and sculptor Salvatore Scarpitta (1919-2007) spent his childhood in Hollywood, where he fostered a love of dirt track racing. He moved to Italy in 1936 to study painting, and later fostered friendships with artists such as Alberto Burri, Lucio Fontana and Piero Manzoni. Scarpitta's mature work was to emerge from a unique mid-terrain between the unlikely twin influences of drag racing and Arte Povera; it led to his well-known wrapped or bandaged paintings, shaped canvases and even to replica racing cars, which frequently saw service before being exhibited. In the 1970s he made a series of sleds, the first of which was bought by Willem de Kooning. Despite Scarpitta's associations with both Abstract Expressionists and Pop artists, his work remained on the fringes of the postwar period's defining movements. As his influence emerges on a younger generation, this volume assesses his oeuvre.
Author: Edward R. Broida
Publisher: The Museum of Modern Art
ISBN: 9780870700903
Category : Art
Languages : en
Pages : 136
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Book Description
Accompanies an exhibition of paintings, sculptures, drawings and prints from Edward R Broida's gift to the Museum of 175 works from his collection. Dating from the 1960s, the works represent a total of thirty-eight European and American artists, whose work is reproduced here.
Author: Salvatore Scarpitta
Publisher:
ISBN:
Category : Art
Languages : it
Pages : 92
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Book Description
Author: Salvatore Scarpitta
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 468
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Book Description
Author: Carla Lonzi
Publisher: SCB Distributors
ISBN: 1739843193
Category : Art
Languages : en
Pages : 430
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Book Description
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.
Author: Raffaele Bedarida
Publisher: Taylor & Francis
ISBN: 1000595803
Category : Art
Languages : en
Pages : 320
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Book Description
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 nuanced transnational approach. The central thesis is that, beyond the immediate aims of political propaganda and conquering a new market for Italian art, these art exhibitions, publications, and the critical discourse aimed at American audiences all reflected back on their makers: they forced and helped Italians define their own modernity in relation to the world’s new dominant cultural and economic power. The book will be of interest to scholars working in art history, social history, exhibition history, and Italian studies.
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 158
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Book Description
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
Author: Michael Maizels
Publisher: University of Michigan Press
ISBN: 0472133098
Category : Art
Languages : en
Pages : 213
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Book Description
Collecting the Now offers a new, in-depth look at the economic forces and institutional actors that have shaped the outlines of postwar art history, with a particular focus on American art, 1960–1990. Working through four case studies, Michael Maizels illuminates how a set of dealers and patrons conditioned the iconic developments of this period: the profusions of pop art, the quixotic impossibility of land art, the dissemination of new media, and the speculation-fueled neo-expressionist painting of the 1980s. This book addresses a question of pivotal importance to a swath of art history that has already received substantial scholarly investigation. We now have a clear, nuanced understanding of why certain evolutions took place: why pop artists exploded the delimited parameters of aesthetic modernism, why land artists further strove against the object form itself, and why artists returned to (neo-)traditional painting in the 1980s. But remarkably elided by extant scholarship has been the question of how. How did conditions coalesce around pop so that its artists entered into museum collections, and scholarly analyses, at pace unprecedented in the prior history of art? How, when seeking to transcend the delimited gallery object, were land artists able to create monumental (and by extension, monumentally expensive), interventions in the extreme wilds of the Western deserts? And how did the esoteric objects of media art come eventually to scholarly attention in the sustained absence of academic interest or a private market? The answers to these questions lie in an exploration of the financial conditions and funding mechanisms through which these works were created, advertised, distributed, and preserved.
Author: Terrie Sultan
Publisher: University of Texas Press
ISBN: 0292709927
Category : Art
Languages : en
Pages : 160
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Book Description
A prolific artist with a prodigious gift for stimulating the creativity of others, James Surls is one of the most important sculptors working in America today. His art blends natural forms created of wood, steel, and bronze with sophisticated, sometimes edgy imagery and content to explore fundamental dualities and paradoxes—male and female, joyous optimism and anxious foreboding, conscious rationality and unconscious intuition. Fusing personalized folk idioms with the aesthetics of high modernism, Surls's sculptures are clearly self-expressive, yet freighted with universal meaning. This beautifully illustrated book, which accompanies an exhibition of the same name at the Blaffer Gallery, the Art Museum of the University of Houston, captures an extraordinarily creative period in Surls's career—the two decades he lived and worked in Splendora, Texas. During this time, Surls established a home and artists' colony in the East Texas pineywoods, where he produced an astonishing body of work while encouraging the creativity of other visual and performing artists. Magnificent color and black-and-white images illustrate the key sculptures and works on paper that Surls created in Splendora. Accompanying the images are essays and interviews that offer fascinating insights into Surls's artistic breakthrough in Splendora. Terrie Sultan introduces Surls's work and provides a concise biography of the artist. Eleanor Heartney places Surls's Splendora works within the larger contexts of American and international art. Artists and gallery owners John Alexander, Joseph Havel, The Art Guys, Hiram Butler, and Sharon and Gus Kopriva, as well as curator Jim Harithas and architect Peter Zweig, share lively memories of Splendora as an artist colony and of Surls's pivotal role as artistic mentor and arts impresario for the whole Houston-area arts community. James Surls and his wife Charmaine Locke add a personal signature to the book by describing how their love and their work blossomed in an atmosphere of total freedom to experiment and create. This publication of James Surls's Splendora works clearly establishes that no other artist of Surls's generation has had a greater impact upon the development of Texas as a center of vibrant creativity. At the same time, it confirms Surls's standing within the contemporary international art world as a revolutionary who has expanded the boundaries of traditional sculpture while maintaining a high degree of aesthetic and intellectual quality.
Author: Donald Judd
Publisher: Judd Foundation/David Zwirner Books
ISBN: 1941701353
Category : Art
Languages : en
Pages : 1057
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Book Description
With hundreds of pages of new and previously unpublished essays, notes, and letters, Donald Judd Writings is the most comprehensive collection of the artist’s writings assembled to date. This timely publication includes Judd’s best-known essays, as well as little-known texts previously published in limited editions. Moreover, this new collection also includes unpublished college essays and hundreds of never-before-seen notes, a critical but unknown part of Judd’s writing practice. Judd’s earliest published writing, consisting largely of art reviews for hire, defined the terms of art criticism in the 1960s, but his essays as an undergraduate at Columbia University in New York, published here for the first time, contain the seeds of his later writing, and allow readers to trace the development of his critical style. The writings that followed Judd’s early reviews are no less significant art-historically, but have been relegated to smaller publications and have remained largely unavailable until now. The largest addition of newly available material is Judd’s unpublished notes—transcribed from his handwritten accounts of and reactions to subjects ranging from the politics of his time, to the literary texts he admired most. In these intimate reflections we see Judd’s thinking at his least mediated—a mind continuing to grapple with questions of its moment, thinking them through, changing positions, and demonstrating the intensity of thought that continues to make Judd such a formidable presence in contemporary visual art. Edited by the artist’s son, Judd Foundation curator and co-president Flavin Judd, and Judd Foundation archivist Caitlin Murray, this volume finally provides readers with the full extent of Donald Judd’s influence on contemporary art, art history, and art criticism.
