20TH CENTURY MOVEMENTS

PUBLISHER
GUGGENHEIM MUSEUM

BOOK FORMAT
Hardcover, 8.5 x 11.5 in. / 352 pgs / 338 color.

PUBLISHING STATUS
PUB DATE 3/31/2014
Active

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CATALOG: SPRING 2014 p. 25   

PRODUCT DETAILS
ISBN 9780892074990 TRADE
LIST PRICE: $60.00 CDN $60.00
AVAILABILITY: In stock

EXHIBITION SCHEDULE

New York
Solomon R. Guggenheim Museum, 02/21/14-09/01/14

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GUGGENHEIM MUSEUM

Italian Futurism, 1909-1944

Reconstructing the Universe

Published by Guggenheim Museum
Edited and with introduction by Vivien Greene. Text by Walter Adamson, Silvia Barisione, Gabriella Belli, Fabio Benzi, Günter Berghaus, Emily Braun, Marta Braun, Esther da Costa Meyer, Enrico Crispolti, Massimo Duranti, Flavio Fergonzi, Matteo Fochessati, Daniela Fonti, Simonetta Fraquelli, Emilio Gentile, Romy Golan, Vivien Greene, Marina Isgro, Giovanni Lista, Adrian Lyttelton, Lisa Panzera, Maria Antonella Pelizzari, Christine Poggi, Lucia Re, Michelangelo Sabatino, Claudia Salaris, Jeffrey T. Schnapp, Susan Thompson, Patrizia Veroli.

Featured image, Benedetta's "Synthesis of Aerial Communications" (1933-34), is reproduced from <I>Italian Futurism, 1909-1944: Reconstructing the Universe</I>.Published to accompany the exhibition Italian Futurism, 1909–1944: Reconstructing the Universe opening at the Solomon R. Guggenheim Museum in 2014, this catalogue considerably advances the scholarship and understanding of an influential yet little-known twentieth- century artistic movement. As part of the first comprehensive overview of Italian Futurism to be presented in the United States, this publication examines the historical sweep of Futurism from its inception with F.T. Marinetti’s manifesto in 1909 through the movement’s demise at the end of World War II. Presenting over 300 works created between 1909 and 1944, by artists, writers, designers and composers such as Giacomo Balla, Umberto Boccioni, Anton Giulio Bragaglia, Fortunato Depero, Gerardo Dottori, Marinetti, Ivo Pannaggi, Rosa Rosà, Luigi Russolo, Tato and many others, this publication encompasses not only painting and sculpture, but also architecture, design, ceramics, fashion, film, photography, advertising, free-form poetry, publications, music, theater and performance. A wealth of scholarly essays discuss Italian Futurism’s diverse themes and incarnations.

Featured image, Benedetta's "Synthesis of Aerial Communications" (1933-34), is reproduced from Italian Futurism, 1909-1944: Reconstructing the Universe.

PRAISE AND REVIEWS

Art in America

Kenneth E. Silver

'Italian Futurism, 1909-1944: Reconstructing the Universe' aims to examine paintings and sculptures that have long been recognized as modernist masterpieces alongside works of architecture, design and pure public spectacle that fueled the dream of a total Futurist art.

Time Out New York

Howard Halle

This expansive overview is the first undertaking of its kind in the United States.

W

Charles Curkin

The Italian Futurists saw themselves as soldiers of speed and mechanics, fighting in the name of progress.

FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 3/16/2014

Futurism and Dance

Futurism and DanceIn his 1917 Manifesto of Futurist Dance, F.T. Marinetti described an "anti-harmonic ill-mannered anti-gracious asymmetrical synthetic dynamic free-wordist dance." In the Guggenheim's remarkable current exhibition catalog, Italian Futurism, 1909-1944: Reconstructing the Universe, Patrizia Veroli writes, "The Futurists experienced the kinetic problematics of dance as the painters and literati they were, rather than as dancers, thus they tended to consider the performer's body merely a machine for producing certain type of signals on the stage. This is how they entered the world of pantomime, an ancient theatrical genre that had gained a new sense of purpose by the end of the nineteenth century, amid the crisis of other artistic languages. The three war dances Marinetti theorized in his 1917 manifesto are for the most part mimes: the dancer mimics the trajectories of projectiles, sound waves, and the movement of airplanes, explaining her own actions with the signboards typical of the music hall and the silent films of the time." Featured image is of Giannina Censi performing an Aerofuturist Dance in 1931; she drew inspiration from paintings by Enrico Prampolini while Marinetti recited poems on war. These images were later used in Fascist publications presenting examples of strong, healthy female bodies in support of the regime's eugenic goals. continue to blog


FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 3/14/2014

Italian Futurism, 1909-1944: Reconstructing the Universe

Italian Futurism, 1909-1944: Reconstructing the Universe"Today it is the MACHINE that distinguishes our era. Pulleys and flywheels, bolts and smokestacks, all the polished steel and odor of grease (the perfume of ozone from power plants). These are the places that we are irresistibly attracted to. It is no longer nudes, landscapes, figures, symbolisms no matter how Futurist, but the painting of locomotives, the screams of sirens, cogs, pinions and all that mechanical sensation KEEN RESOLUTE which makes up the atmosphere of our sensibility." This excerpt of Ivo Pannaggi and Vinicio Paladini's 1922 manifesto and the featured image, "Numbers in Love" (1920-23), by Giacomo Balla, are reproduced from Italian Futurism, 1909-1944: Reconstructing the Universe, published to accompany the epic and unshrinking exhibition currently on view at the Guggenheim Museum. continue to blog


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