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Lucio Fontana : Between Utopia and Kitsch

Auteur : Anthony White
Éditeur : Cambridge, Massachusetts : The MIT Press, ©2011.
Collection : October books.
Édition/format :   Livre : AnglaisVoir toutes les éditions et les formats
Base de données :WorldCat
Résumé :
"In 1961, a solo exhibition by Argentine-Italian artist Lucio Fontana met with a scathing critical response from New York art critics. Fontana (1899-1968), well known in Europe for his series of slashed monochrome paintings, offered New York ten canvases slashed and punctured, thickly painted in luridly brilliant hues and embellished with chunks of colored glass. One critic described the work as "halfway between  Lire la suite...
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Détails

Personne nommée : Lucio Fontana; Lucio Fontana; Lucio Fontana
Format : Livre
Tous les auteurs / collaborateurs : Anthony White
ISBN : 9780262015929 0262015927
Numéro OCLC : 694172204
Notes : "An October Book."
Description : xiii, 324 pages : illustrations (chiefly color) ; 24 cm.
Contenu : Damaged Goods --
The Artificial Figure: 1930-1934 --
Between Utopia and Kitsch: 1934-1938 --
From Sculpture to Environment: 1940-1951 --
Spatial Concept: the "Holes," 1949-1953 --
Expectations: the Cuts," 1958-1966 --
The Object of Vanity: 1959-1964 --
La Chinoise.
Titre de collection : October books.
Responsabilité : Anthony White.

Résumé :

"In 1961, a solo exhibition by Argentine-Italian artist Lucio Fontana met with a scathing critical response from New York art critics. Fontana (1899-1968), well known in Europe for his series of slashed monochrome paintings, offered New York ten canvases slashed and punctured, thickly painted in luridly brilliant hues and embellished with chunks of colored glass. One critic described the work as "halfway between constructivism and costume jewelry," unwittingly putting his finger on the contradiction at the heart of these paintings and much of Fontana's work: the cut canvases suggest avant-garde iconoclasm, but the glittery ornamentation evokes outmoded forms of kitsch. In Lucio Fontana, Anthony White examines a selection of the artist's work from the 1930s to the 1960s, arguing that Fontana attacked the idealism of twentieth-century art by marrying modernist aesthetics to industrialized mass culture, and attacked modernism's purity in a way that anticipated both pop art and postmodernism.

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White provides a fresh interpretation of a man whose innovation and insurgency is now demanding greater recognition and record prices more than 40 years after his death. Publishers Weekly This book Lire la suite...

 
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Données liées


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