A leading light of the Art Informel generation that also included Tàpies and Dubuffet, Alberto Burri (1915–95) continues to exert a huge influence on artists today, as the popularity of his 2015 Guggenheim show and the perpetual scarcity of Burri monographs attests. This volume—the most comprehensive book on the artist in print—explores the beauty and complexity of the creative process, “material poetry,” that undergirded all of his work. Burri worked with the most varied materials with an inexhaustible creative energy: tar, paper, fabric, jute sacks, combustions of plastic, wood and iron all found their way into his picture plane, transfiguring the vocabulary of painting for the postwar sensibility. The titles of Burri’s various series convey this “material poetry”: Gobbi (hunchbacks), Muffe (molds), Bianchi (whites), Legni (woods), Ferri (irons), Combustioni plastiche (plastic combustions), Cretti and Cellotex. This affordable volume introduces Burri’s poetical vocabulary of materials for a new audience.
Published by Guggenheim Museum Publications. By Emily Braun. Contributions by Megan Fontanella, Carol Stringari.
Published to accompany a major retrospective exhibition--the first in the United States in more than 35 years and the most comprehensive ever mounted--this title showcases the pioneering work of Italian artist Alberto Burri (1915-95). Exploring the beauty and complexity of Burri's process-based works, the exhibition positions the artist as a central and singular protagonist of postwar art. Burri is best known for his series of Sacchi (sacks) made of stitched and patched remnants of torn burlap bags, often combined with fragments of discarded clothing. Far less familiar to American audiences are his other series, which this exhibition represents in depth: Catrami (tars), Gobbi (hunchbacks), Muffe (molds), Bianchi (whites), Legni (woods), Ferri (irons), Combustioni plastiche (plastic combustions), Cretti and Cellotex works. Burri's work both demolished and reconfigured the Western pictorial tradition, while reconceptualizing modernist collage. Using unconventional materials, he moved beyond the painted surfaces and markmaking of American Abstract Expressionism and European Art Informel. Burri's unprecedented approaches to manipulating humble substances--and his abject picture-objects--also profoundly influenced Arte Povera, Neo-Dada and Process art. Alberto Burri was born in Italy in 1915. He first garnered attention in the US in the early 1950s when his work was included in the group exhibition Younger European Painters at the Guggenheim Museum and was also shown at the Frumkin Gallery, Chicago, and at the Stable Gallery, New York. In 1977 a retrospective was presented at the University of California's Frederick S. Wight Gallery, Los Angeles, and traveled to the Marion Koogler McNay Art Institute, San Antonio, Texas, and the Guggenheim Museum (1978). He died in Nice, France, in 1995.
Published by Skira. By Massimo Di Carlo, Laura Lorenzoni. Edited by Bruno Cora.
A distinctive feature of Alberto Burri’s artistic imagery: the treatment of black in his Cellotex works. Through a selection of thirty works made in a twenty-year time span (1972–92), the volume offers a perspective on the expressive outcomes that marked Alberto Burri’s language after the 1950s and 1960s, at a time in which he had already gained international critical acclaim. Cellotex, which the artist had long used as a support for his compositions, became the “work” itself. Through a gradual process of stripping down, Burri reached the basic underlying element, i.e. the material that had previously been approached in view of something else. As is the case with his more iconic cycles (such as Sacchi, Legni, and Combustioni plastiche), matter here continues to be the undisputed protagonist, capable of setting the rules and of fixing compositional balances.
Bruno Corà is a renowned Italian art critic and is a member of the Burri Foundation.
Published by Mitchell-Innes & Nash. Edited by Germano Celant.
Alberto Burri (1915-1995) is a key early figure of the art informel and arte povera movements. This survey of work from the 1940s through the 90s highlights the artist's use of unorthodox materials like burlap, sackcloth, ceramic, plastic and tar and features a new essay by renowned scholar Germano Celant.
In 1952 Umbrian artist Alberto Burri scandalized art critics and audiences worldwide with burned wood, flame-red paintings, dramatic combustions of plastic, and a black that was the color of tar. Indifferent to the twin temptations of modishness and the market, Burri made a name for himself first in the United States and then in his native Italy. Burri: Seen/Unseen sets out to reveal many of Burri's previously unknown works. As such, it bears wintess to Burr's ability to continually invent new combinations of forms and materials, and documents his love for small-scale formats*which serve as proof that nontraditional materials can be used even in the most minute and precise forms of painting. Burri: Seen/Unseen traces the artist's creative activity from his earliest works to his later years and provides an in-depth examination of his excursions into previously unexplored aesthetic territories.
BOOK FORMAT Paperback, 8.25 x 11 in. / 192 pgs / 167 color / 21 bw
PUBLISHING STATUS Pub Date 2/2/2001 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2001
PRODUCT DETAILS ISBN 9788881582914TRADE List Price: $45.00 CDN $55.00