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Medardo Rosso (1858–1928) is one of the most original and influential figures in the history of modern art, and this book is the first historically substantiated critical account of his life and work. An innovative sculptor, photographer, and draftsman, Rosso was vital in paving the way for the transition from the academic forms of sculpture that persisted in the nineteenth century to the development of new and experimental forms in the twentieth. His antimonumental, antiheroic work reflected alienation in the modern experience yet also showed deep feeling for interactions between self and other. Rosso’s art was also transnational: he refused allegiance to a single culture or artistic heritage and declared himself both a citizen of the world and a maker of art without national limits. In this book, Sharon Hecker develops a narrative that is an alternative to the dominant Franco-centered perspective on the origin of modern sculpture in which Rodin plays the role of lone heroic innovator. Offering an original way to comprehend Rosso, A Moment’s Monument negotiates the competing cultural imperatives of nationalism and internationalism that shaped the European art world at the fin de siècle.
This catalogue is published to accompany the exhibition of the same name in Museum Boijmans Van Beuningen, Rotterdam (8 February-11 May 2014). The exhibition is a unique meeting of the work of three of the most influential artists of the twentieth century: Constantin Brancusi (1876-1957), Medardo Rosso (1858-1928) and Man Ray (1890-1976). The works exhibited and discussed in the catalogue, forty-five sculptures and some hundred photographs they took of them, offer a glimpse over the shoulders of these artists.Not only were Brancusi, Rosso and Man Ray all crucial in the development of modern sculpture, they were innovators in the way they involved photography in their work-not so much for recording it, but as a means of explaining how viewers should look at and interpret their sculptures. They played with the possibilities of the medium-experimental for the time-using overexposure, innovative camera angles and blurring the foreground or background.
The Italian artist Medardo Rosso (1858-1928) was instrumental in expanding the definition of sculpture for the modern era. Focusing on everyday people as his subjects, Rosso portrayed fugitive physical or emotional states, employing innovative casting and modeling techniques in plaster, bronze and wax, his signature material. Medardo Rosso: Experiments in Light and Formfeatures nearly 100 works of sculpture, drawing and photography, and explores Rosso's efforts to capture and manipulate light. It presents extensive installation photography, documenting the works on view within the variable natural and artificial light of the Pulitzer Arts Foundation building. The book also features original scholarly essays by the exhibition co-curators and other contributors, as well as an illustrated checklist--presenting a selection of Rosso's lesser-known experiments in drawing and photography, in addition to some of his most celebrated sculptures.
Enriching the existing scholarship on this important exhibition, Italy at Work: Her Renaissance in Design Today (1950–53), this book shows the dynamic role art, specifically sculpture, played in constructing both Italian and American culture after World War II (WWII). Moving beyond previous studies, this book looks to the archival sources and beyond the history of design for a greater understanding of the stakes of the show. First, the book considers art’s role in this exhibition’s import—prominent mid-century sculptors like Giacomo Manzù, Fausto Melotti, and Lucio Fontana were included. Second, it foregrounds the particular role sculpture was able to play in transcending the boundaries of fine art and craft to showcase innovative formalist aesthetics of modernism without falling in the critiques of modernism playing out on the international stage in terms of state funding for art. Third, the book engages with the larger socio-political use of art as a cultural soft power both within the American and Italian contexts. Fourth, it highlights the important role race and culture of Italians and Italian-Americans played in the installation and success of this exhibition. Lastly, therefore, this study connects an investigation of modernist sculpture, modern design, post-war exhibitions, sociology, and transatlantic politics and economics to highlight the important role sculpture played in post-war Italian and American cultural production. The book will be of interest to scholars working in art history, design history, museum studies, Italian studies, and American studies.
The Necessity of Sculpture brings together a selection of articles on sculpture and sculptors from Eric Gibson’s nearly four-decade career as an art critic. It covers subjects as diverse as Mesopotamian cylinder seals, war memorials, and the art of the American West; stylistic periods such as the Hellenistic in Ancient Greece and Kamakura in medieval Japan; Michelangelo, Gian Lorenzo Bernini, Augustus Saint-Gaudens, and other historical figures; modernists like Auguste Rodin, Pablo Picasso, and Alberto Giacometti; and contemporary artists including Richard Serra, Rachel Whiteread, and Jeff Koons. Organized chronologically by artist and period, this collection is as much a synoptic history of sculpture as it is an art chronicle. At the same time, it is an illuminating introduction to the subject for anyone coming to it for the first time.
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.
Art Crossing Bordersoffers a thought-provoking analysis of the internationalisation of the art market during the long nineteenth century. Twelve experts, dealing with a wide variety of geographical, temporal, and commercial contexts, explore how the gradual integration of art markets structurally depended on the simultaneous rise of nationalist modes of thinking, in unexpected and ambiguous ways. By presenting a radically international research perspective Art Crossing Bordersoffers a crucial contribution to the field of art market studies.