Edited by Marina Pugliese, Barbara Ferriani, Vincente Todolí. Text by Marina Pugliese, Barbara Ferriani, Enrico Crispolti, Paolo Campiglio, Luca Massimo Barbero, Orietta Lanzarini, Anne Rana, Jennifer Josten, Maria Villa, Giovanni Rubino, Stefano Setti.
Hbk, 8.75 x 11.25 in. / 228 pgs / 200 color / 48 bw. | 7/23/2019 | In stock $45.00
Published by Skira. By Paolo Campiglio. Edited by Paolo Bonacina.
Given the sculptural properties of his famous slashed canvases, it is perhaps little wonder that Lucio Fontana (1899-1968) began his career as a sculptor.
Less well-known is his work as a ceramicist, which commenced in the mid-1930s and produced an exploration of materiality that profoundly informed his practice as an artist.
This interest was developed parallel to his painting and was, in many ways, indistinguishable from his work as a sculptor. As Fontana continued to create ceramics, he became increasingly obsessed with the concept of matter as it related to the mass and volume of the sculpted object. His exploration of the physicality and weight of a work of art prefigured his later desire to diminish the materiality of his art.
As Fontana scholar Paolo Campiglio writes here, “he sought to discover a form that could exceed its own materiality. He sought to test the possibilities of space. He sought to create an object with absolute plasticity. And he sought to discover an ideal abstract form, opposed to the accepted, geometrical forms.”
Published by Hauser & Wirth Publishers. Edited with text by Luca Massimo Barbero. Text by Barbara Ferriani, Marina Pugliese.
Lucio Fontana’s (1899–1968) Ambienti spaziali, or Spatial Environments, were immersive installations that included neon crystal tubes, paint that glowed under black light and captivating papier-mâché sculptures. Fontana’s use of technology pushed the boundaries of art beyond the canvas to “paint” with light and invite viewers into the physical space of the work itself. In spring 2020 Hauser & Wirth Los Angeles staged the first comprehensive presentation of Ambienti spaziali in the United States, carefully reconstructing the installations as they initially appeared from 1948 to the final years of the artist’s life. This accompanying volume is edited in collaboration with Milan’s Fondazione Lucio Fontana and includes a survey of Fontana’s contributions to the evolution of conceptual art, tracing his influence on other legendary figures such as Piero Manzoni, Yayoi Kusama and James Turrell.
Published by Mousse Publishing. Edited by Marina Pugliese, Barbara Ferriani, Vincente Todolí. Text by Marina Pugliese, Barbara Ferriani, Enrico Crispolti, Paolo Campiglio, Luca Massimo Barbero, Orietta Lanzarini, Anne Rana, Jennifer Josten, Maria Villa, Giovanni Rubino, Stefano Setti.
Lucio Fontana (1899–1968) radically transformed our conception of painting, sculpture and space by transcending the two-dimensionality of the canvas, foreshadowing many movements of the 1960s and '70s such as Arte Povera, conceptualism and land art. As the founder of Spatialism, an artistic movement that emerged in Italy in the late ’40s, Fontana did away with the distinction between painting and sculpture, with his famous slashes and holes in the canvas. Environments is focused on Fontana’s pioneering work in installation art, with a selection of his seminal Ambienti spaziali (seen together for the first time). The Ambienti spaziali—rooms and corridors that the artist began to conceive and design in the late 1940s—were almost always destroyed once the exhibition was over; they are Fontana’s most experimental yet least-known works, due to their ephemeral nature.
A new privileged point of view and an original take on the evolution of Fontana's oeuvre through his complete graphic work. This catalogue raisonne of the works on paper by Lucio Fontana (1899-1968) is one the most complete and cutting-edge publications on the work of one of the leading protagonists of the twentieth-century's artistic development. Experimentation on paper was Fontana's chosen means to test the richness and novelty of his inspiration.
This catalogue raisonne covers four decades of this creative activity, starting with the astonishing corpus of figural works and culminating in his original invention of spatial art, which led to the creation and development of the highly individual “holes,” “environments,” and “slashes.” The study includes extensive and heretofore unpublished documentation on Fontana's dialogue with architecture and decoration and his experimentation with unusual techniques and materials. Including more than 5,000 works executed between 1928 and 1968, with individual entries that include bibliographical and exhibition reference, this volume is an essential and updated tool for scholars, collectors, museum operators, and art dealers who wish to become thoroughly familiar with Fontana's oeuvre.
Luca Massimo Barbero, a scholar and critic specializing in modern and contemporary art, is currently associate curator of the Peggy Guggenheim Collection in Venice.
Published by Aspen Art Press. Foreword by Heidi Zuckerman Jacobson. Text by Lucio Fontana, Paolo Campiglio, Jan van der Marck.
Best known for the slashed and cut canvases--and related spatial environments--of the Concetti spaziali that he created primarily in the 1950s and 60s, Argentine–Italian artist Lucio Fontana (1899–1968) trained as a sculptor at the Academy of Fine Arts of Brera and used ceramics and clay modeling to explore larger problems in sculpture and painting. Lucio Fontana: Sculpture is published in conjunction with the first U.S. museum exhibition dedicated solely to the artist’s groundbreaking ceramic work, and explores the innovative and often contrarian ways in which Fontana made use of the medium. With a foreword by Aspen Art Museum CEO and Director, Chief Curator, Heidi Zuckerman Jacobson, the publication collects landmark text by Jan van der Marck, Paolo Campiglio and Lucio Fontana himself, and features thoughts on Fontana’s influence from contemporary sculptors Kathy Butterly, Charles Long and Katy Schimert.
An unparalleled exhibition catalogue of Lucio Fontana’s architectural work. For the first time in the United States, the exhibition Lucio Fontana: Ambienti Spaziali presents a substantial number of the spatial environments conceived by the artist between 1948 and 1968, works that can be regarded as forerunners of the environments created by figures such as Allan Kaprow and Robert Irwin and the light art of the likes of Dan Flavin and Bruce Nauman. The book reproduces all the works in the exhibition, including drawings, sketches, environments, sculptures, and paintings.
Germano Celant was senior curator of contemporary art at the Solomon R. Guggenheim Museum in New York from 1989 to 2008. Internationally known for his writings on Arte Povera, in 1987 he received the Frank Jewett Mather Award. He has been a contributing editor at Artforum since 1977 and at Interview since 1991. Among his books: Anselm Kiefer: Salt of the Earth (Skira, 2012); Louise Bourgeois: The Fabric Works (Skira, 2011); Piero Manzoni (Skira, 2009), among many others.
Published by Guggenheim Museum Publications. Text by Lucio Fontana, Luca Massimo Barbero, Enrico Crispolti, Paolo Campiglio, Barbara Ferriani.
In the 1940s, the Italian painter and sculptor Lucio Fontana carried out a gesture that revolutionized the history of contemporary art: He punctured and slashed the canvas, leaving fissures in its surface and creating a new dimension in painting. Recognized as one of the masters of the international midcentury avant-garde, Fontana, who was actually born in Argentina, is considered a father of postwar monochromatic abstraction and Conceptual art. Organized by curator Luca Massimo Barbero of the Peggy Guggenheim Collection, Lucio Fontana: Venice/New York catalogues the artist's first exhibition in the U.S. since the Guggenheim's landmark 1977 retrospective. Furthermore, it introduces two rarely seen bodies of work that were created around the cities of Venice and New York, presented together here for the first time. The Venice paintings, shimmering surfaces in silver and gold that recall the mosaics of St. Mark's and that city's Byzantine splendor, are juxtaposed with the New York works--giant sheets of shiny and scratched copper, cut through by dynamic vertical gestures that conjure the force of Manhattan and its powerful, electric skyline. Featuring a facsimile reproduction of Fontana's 1947 "Manifesto Tecnico," as well as essays by Barbero and other leading scholars of the artist's oeuvre, including Enrico Crispolti (author of the Fontana catalogue raisonné), Paolo Campiglio and Barbara Ferriani.
Published by Skira. By Enrico Crispolti. Contributions by Nini Ardemagni Laurini, Valeria Ernesti.
The catalogue raisonné of the work of the Italian painter and sculptor presents a historical profile of the artist's complete body of work. Organized chronologically and subdivided into categories of the extremely broad creative oeuvre of Lucio Fontana (Rosario de Santa Fé, 1899–Varese, 1968), one of the leading exponents of the international artistic avant-garde of the Twentieth century, this general annotated catalog of sculpture, painting, and “Ambientazioni” presents a rigorous historical and critical profile of the creative corpus of the artist “of the two worlds” at his highest expressive intensity and quality.”
Enrico Crispolti is Professor of History of Contemporary Art at the University of Siena. A historian of nineteenth and twentieth century art and a militant art critic, Crispolti is the author of countless monographs and, in addition to the general catalog of Fontana, he has edited the general catalog of the work of Baj and Guttuso. Nini Ardemagni Laurini is president of Fondazione Lucio Fontana in Milan. Valeria Ernesti was vice president of Fondazione Lucio Fontana in Milan.“
Published by Charta. Essays by Paulo Herkenhoff, Helio Oiticica, Pier Luigi Tazzi, Murilo Mendes.
One of the first modern European artists to be acknowledged in Latin America, Lucio Fontana is also one of the first of his ilk to be influenced by the cultural reality of this region. Through his poetic inventions, he impregnated the Brazilian art scene with his simple transformations of space and subject, and his "wish for space" paralleled similar concerns expressed by his Brazilian counterparts. In Lucio Fontana: Brasil, the dialogue between the two is explored through instances of collation, approximation and comparison, and is traced to their shared origins in Western art traditions and its developments in South America.
BOOK FORMAT Paperback, 9.5 x 11.5 in. / 288 pgs / 100 color / 38 bw.
PUBLISHING STATUS Pub Date 2/2/2002 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2002
PRODUCT DETAILS ISBN 9788881583416TRADE List Price: $39.95 CDN $50.00