Art History Final

Italian Pop Art

1962-1970

rome

inspired by american pop art (own style/characteristics)

influenced by pop culture, advertising, consumerism

• American: pop culture (movies, singers, ads)

• Italian: italian cultural heritage

style: bright colors, bold shapes, everyday imagery

critique and celebration of contemporary society

less industry more craftsmanship

• andy warhol

• roy lichenstein

• robert rauschenberg

• tano festa

Campbell’s Soup Can- Andy Warhol

1964, oil on canvas

pop art, american

Hopless- Roy Lichenstein

1963, oil & acrylic on canvas

american pop art

Retroactive 1- Robert Rauschenberg

1963

american popart

Swinging Roma

documentary

rome in the 60s

• new media beyond traditional painting

  • multimedia exploration

• cinema (la doce vita)

• rise of film = more tourism/american fascination w rome

• new exhibition spaces (galler of modern art, peggy guggenheim)

• political motifs

• italian economic rebirth = optimism

scuola di piazza del popolo

art movement from rome in 60s

name/def came later

• rome square where it/am arists met

• galleria la tartaruga

• caffe rosati

• franco angeli

• tano festa

• mario schifano

• giosetta fioroni

political voices in non political movement (popart)

tano festa

• one of most important/eclectic italian pop artists

• painter, photographer

• part of scuola di piazza del popolo

• series on same themes

  • adam & the sistine chapel (1962)

• 1965 time in US

• had tracing projected images, focus on silhouettes

Creation of Man 1964, Michelangelo According to Tano Festo- 1967

The Creation of Man- Tano Festa

1964, enamel & emulsified paper on wood

• american paints coke as value, to him michelangelo is same thing for italy (instead of consuming food we consume art)

Creation of Man According to Tano Festo

1967, smalto, enamel, industrial paint, marker on canvas

Franco Angeli

rome, self taught

• politically engaged

• icons of power/depowering political symbols of violence

• early works reflect Burri influence

• scuola di piazza del popolo

• exhibited in key galleries of time (la salita, la tartaruga)

• 60s interest in pop art

  • everyday imagery

  • mass media symbols

  • historical/political

Napolean, Half Dollar

Napolean- Franco Angeli

1962, acrylic on canvas

Half Dollar, Franco Angeli

1962

• one of key series

• eagle symbol recurring throughout

• colors of US flag

• ref. american culture

• half dollar most minted coin in US

• critique of culture of dollar (commodification and consumerism)

Mario Schifano

Lybia africa when was IT colony

• return to IT post war

• 1962: american pop art influence

• incorporates images of ads, comic, TV

• meets Rothko, Jasper Johns, Andy Warhol

• mid 60s: experiments w films & documentaries

• deconstructing economic symbols

Coca Cola, Esso, Car Addicent

Coca Cola, Mario Schifano

1962, enamel paints (made for idustry production)

• dry quickly, can produce lots of pieces

• preserve original brilliance

• paper or cardboard

• part of Propogande series

• always PIECE of logo

Esso, Mario Schifano

1974, enamel on paper and canvas

• gas company

Car Accident, Mario Schifano

1963-1964

• influenced by andy warhol’s “orange car crash”, 1963

Mimmo Rotella

• figurative/abstract-geometric painting

• academy of fine arts naples

• 1945- move to rome

• technique: DECOLLAGE- peeled layers of ad posters from streets, glued on canvas

• faces, film stars, commercial slogans/logos

• challenges traditional concept of ‘artistic creation’

Marilyn

Marilyn, Mimmo Rotella

1962

The 68/Sessantotto in Italy

• social/political upheavel

• 60s: years of modernization (industries booming, modern culture, globalization)

  • discontent w traditional italian society, young students: want democracy

  • student revolts from late 1967 through 1968- want educational reforms, system of representation, like a union

Arte Povera

radical art movement

• from early 1960s-1970s

• term coined by Celant in 1967

• reject traditional art materials (oil, marble sculpture) for organic materials

• povera (poor) vs rich/bourgeoise

• interest of process/becoming of energy

• conceptual element (reflect on art, time, space, history)

Giuseppe Penone, Luciano Fabro, Kounellis, Michelangelo Pistoletto

Giap’s Igloo, Mario Merz

1968, metal structure, wire mesh, bags of clay soil, neon, batteries

12 Live Horses, Kounellis

• rome art galleria- galleria l’attico

• horses left to roam space, no hay or anything usually associated w horses

• controversial use of live animals

• performance for 1 day

  • bold/questions art and its boundaries

• never allowed video or anything- just the 1 pic

• draws on historic horse iconography (roman emperors, napolean, cave paintings, etc)

Giuseppe Penone

• key of ARTE POVERA

• nature focus

• connections between humans & natural world

• transformation & process (working w living trees, manipulating growth or imprints)

• dialogue between artist & nature

• natural materials: wood, leaves, stones, organic

• large-scale installations, sculptures interacting entire landscape or gallery space

• passage of time, natural processes, growth, decay

Artitime Alps: It will keep growing except at that point, Magical Treebirth, 12 Meters Tall Tree

Maritime Alps: it will keep growing except at that point, Guiseppe Penone

1968, tree

• time as subjective dimension

• use of time in relationship between man and elements

• energy being expressed/measured through time

Magical Treebirth, Giuseppe Penone

1970, tree, wood

12 Meters Tall Tree, Giuseppe Penone

1980

Giovanni Anselmo

• Arte Povera

• challenged traditional notions of sculpture

• self-taught painter

• from 1968- arte povera exhibtions curated by Celant

• time, nature, energy, transformation

• unconventional/natural materials

  • stone, wood, metal, organic matter

• relationship between artowork and environment

  • works change/evolve over time

Untitled (structure eating salad), Torsion, Torsion

Untitled (structure eating salad), Giovanni Anselmo, 1968

• granite block, slab of granite, head of lettuce, copper wire

Torsion, Giovanni Anselmo, 1968

Luciano Fabro

• arte povera

• sculptor, writer, teacher

• connected w Piero Manzoni, Enrico Castellani

• 1967 exhibition at La Bertesca

• dif languages of sculpture

• traditional materials w unconventional (glass, silk)

• perception, language, relationship between artwork & viewer

Italie (road map of italy, golden italy)

Road Map of Italy, Luciano Fabro

1969

• series from 1968

• shape of italy made of dif/unconventional materials (paper strips, wire, fur)

• questions italian identtiy

• celebrates italian artistic past

• italy from dif POV

Golden Italy, Luciano Fabro

1971

• series from 1968

• shape of italy made of dif/unconventional materials (paper strips, wire, fur)

• questions italian identtiy

• celebrates italian artistic past

• italy from dif POV

Arte Concettuale

• artistic current from 60s/70s

• equivalent of american conceptual art

• art not OBJECT but CONCEPT

  • IDEA MORE IMPORTANT THAN MATERIAL/FINAL OBJECT

• media, dif techniques (photography, performance, istallation, video)

• some in arte povera

One & Three Chairs, Joseph Kosuth

• arte concettuale

Alighiero Boetti

• arte povera & arte concettuale (conceptual art)

• order, disorder, change, logic, time (how passes/how we record it), language (how we comm w each other & dif cultures)

• reference non-western cultures

• traveled world- afghanistan (collaborated w embroiderers for MAPS series)

• creative processed opened to others not JUST artist

MAPS series, Biro drawings, writings, puzzles, postal works

MAPS Series, Alighiero Boetti- 1971-1973

• tapestries depicting world map

• each embroidered w national flag

• geopolitical landscape

  • changing power from 70s to 90s

• afghan artisans (embroidered based on his drawings)

• cultural exchange, global collaboration

• themes of identity, power, passage of time

Suggested directions, Alghiero Boetti

1974

Giulio Paolini

• turin

• conceptual artist

• arte povera

• dif media techniques (painting, sculpting)

• connect w classical art, role of artist, viewers’ experiences

• dif languages of sculpture

• traditional materials w unconventional (glass,silk)

Untitled (x2)

Untitled, Giulio Paolini

1962, 3 reversed primed canvases mounted one inside the other

Untitled, Giulio Paolini

1961, paint can, frame, polyethylene

La Balze- Mauro Staccioli

Volterra, 1972

Piazza dei Priori- Mauro Staccioli

Volterra, 1972

Piazza della Stexxata- M