Lucio Fontana: Between Utopia and Kitsch

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9780262526159: Lucio Fontana: Between Utopia and Kitsch

In 1961, a solo exhibition by Argentine-Italian artist Lucio Fontana met with a scathing critical response from New York art critics. Fontana (1899--1968), well known in Europe for his series of slashed monochrome paintings, offered New York ten canvases slashed and punctured, thickly painted in luridly brilliant hues and embellished with chunks of colored glass. One critic described the work as "halfway between constructivism and costume jewelry," unwittingly putting his finger on the contradiction at the heart of these paintings and much of Fontana's work: the cut canvases suggest avant-garde iconoclasm, but the glittery ornamentation evokes outmoded forms of kitsch. In Lucio Fontana, Anthony White examines a selection of the artist's work from the 1930s to the 1960s, arguing that Fontana attacked the idealism of twentieth-century art by marrying modernist aesthetics to industrialized mass culture, and attacked modernism's purity in a way that anticipated both pop art and postmodernism. Fontana painted expressionist and abstract sculptures in the pinks and golds of mass-produced knick-knacks, saturated architectural installations with fluorescent paint and ultraviolet light, and encrusted candy-colored monochrome canvases with glitter. In doing so, White argues, he challenged Clement Greenberg's dictum that avant-garde and kitsch are diametrically opposed. Relating Fontana's art to the political and social context in which he worked, White shows how Fontana used the materials and techniques of mass culture to comment on the fate of the avant-garde under Italian fascism and the postwar "economic miracle." At a time when Fontana's work is commanding record prices, this new interpretation of the work assures that it has unprecedented critical relevance.

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ISBN 10: 0262526158 ISBN 13: 9780262526159
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Descrizione libro MIT Press Ltd, United States, 2014. Paperback. Condizione libro: New. 224 x 168 mm. Language: English . Brand New Book. In 1961, a solo exhibition by Argentine-Italian artist Lucio Fontana met with a scathing critical response from New York art critics. Fontana (1899--1968), well known in Europe for his series of slashed monochrome paintings, offered New York ten canvases slashed and punctured, thickly painted in luridly brilliant hues and embellished with chunks of colored glass. One critic described the work as halfway between constructivism and costume jewelry, unwittingly putting his finger on the contradiction at the heart of these paintings and much of Fontana s work: the cut canvases suggest avant-garde iconoclasm, but the glittery ornamentation evokes outmoded forms of kitsch. In Lucio Fontana, Anthony White examines a selection of the artist s work from the 1930s to the 1960s, arguing that Fontana attacked the idealism of twentieth-century art by marrying modernist aesthetics to industrialized mass culture, and attacked modernism s purity in a way that anticipated both pop art and postmodernism. Fontana painted expressionist and abstract sculptures in the pinks and golds of mass-produced knick-knacks, saturated architectural installations with fluorescent paint and ultraviolet light, and encrusted candy-colored monochrome canvases with glitter. In doing so, White argues, he challenged Clement Greenberg s dictum that avant-garde and kitsch are diametrically opposed. Relating Fontana s art to the political and social context in which he worked, White shows how Fontana used the materials and techniques of mass culture to comment on the fate of the avant-garde under Italian fascism and the postwar economic miracle. At a time when Fontana s work is commanding record prices, this new interpretation of the work assures that it has unprecedented critical relevance. Codice libro della libreria AAH9780262526159

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Descrizione libro MIT Press Ltd, United States, 2014. Paperback. Condizione libro: New. 224 x 168 mm. Language: English . Brand New Book. In 1961, a solo exhibition by Argentine-Italian artist Lucio Fontana met with a scathing critical response from New York art critics. Fontana (1899--1968), well known in Europe for his series of slashed monochrome paintings, offered New York ten canvases slashed and punctured, thickly painted in luridly brilliant hues and embellished with chunks of colored glass. One critic described the work as halfway between constructivism and costume jewelry, unwittingly putting his finger on the contradiction at the heart of these paintings and much of Fontana s work: the cut canvases suggest avant-garde iconoclasm, but the glittery ornamentation evokes outmoded forms of kitsch. In Lucio Fontana, Anthony White examines a selection of the artist s work from the 1930s to the 1960s, arguing that Fontana attacked the idealism of twentieth-century art by marrying modernist aesthetics to industrialized mass culture, and attacked modernism s purity in a way that anticipated both pop art and postmodernism. Fontana painted expressionist and abstract sculptures in the pinks and golds of mass-produced knick-knacks, saturated architectural installations with fluorescent paint and ultraviolet light, and encrusted candy-colored monochrome canvases with glitter. In doing so, White argues, he challenged Clement Greenberg s dictum that avant-garde and kitsch are diametrically opposed. Relating Fontana s art to the political and social context in which he worked, White shows how Fontana used the materials and techniques of mass culture to comment on the fate of the avant-garde under Italian fascism and the postwar economic miracle. At a time when Fontana s work is commanding record prices, this new interpretation of the work assures that it has unprecedented critical relevance. Codice libro della libreria AAH9780262526159

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Descrizione libro The MIT Press, 2014. Condizione libro: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: In Anthony White's incisive account, Lucio Fontana emerges as the most significantItalian artist of the 20th century. He shows that Fontana grew increasingly radical with age and sowas able to extend his project from the interwar years all the way to the 1960s. White's argumentbrings out with unprecedented clarity the artist's capacity to bridge such antithetical zones ofsensibility as sublimity and kitsch, dematerialization and the body, and, perhaps most perplexing,fascist state ideology and irony. Codice libro della libreria ABE_book_new_0262526158

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Descrizione libro The MIT Press. PAPERBACK. Condizione libro: New. 0262526158 Brand New Book. Ships from the United States. 30 Day Satisfaction Guarantee!. Codice libro della libreria 16938947

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Descrizione libro MIT Press Ltd. Paperback. Condizione libro: new. BRAND NEW, Lucio Fontana: Between Utopia and Kitsch, Anthony White, In 1961, a solo exhibition by Argentine-Italian artist Lucio Fontana met with a scathing critical response from New York art critics. Fontana (1899--1968), well known in Europe for his series of slashed monochrome paintings, offered New York ten canvases slashed and punctured, thickly painted in luridly brilliant hues and embellished with chunks of colored glass. One critic described the work as "halfway between constructivism and costume jewelry," unwittingly putting his finger on the contradiction at the heart of these paintings and much of Fontana's work: the cut canvases suggest avant-garde iconoclasm, but the glittery ornamentation evokes outmoded forms of kitsch. In Lucio Fontana, Anthony White examines a selection of the artist's work from the 1930s to the 1960s, arguing that Fontana attacked the idealism of twentieth-century art by marrying modernist aesthetics to industrialized mass culture, and attacked modernism's purity in a way that anticipated both pop art and postmodernism. Fontana painted expressionist and abstract sculptures in the pinks and golds of mass-produced knick-knacks, saturated architectural installations with fluorescent paint and ultraviolet light, and encrusted candy-colored monochrome canvases with glitter. In doing so, White argues, he challenged Clement Greenberg's dictum that avant-garde and kitsch are diametrically opposed. Relating Fontana's art to the political and social context in which he worked, White shows how Fontana used the materials and techniques of mass culture to comment on the fate of the avant-garde under Italian fascism and the postwar "economic miracle." At a time when Fontana's work is commanding record prices, this new interpretation of the work assures that it has unprecedented critical relevance. Codice libro della libreria B9780262526159

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Descrizione libro MIT Press, 2014. PAP. Condizione libro: New. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Codice libro della libreria WM-9780262526159

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Descrizione libro The MIT Press, 2014. PaperBack. Condizione libro: New. Codice libro della libreria 2411863

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Descrizione libro Paperback. Condizione libro: New. 178mm x 229mm x 19mm. Paperback. In 1961, a solo exhibition by Argentine-Italian artist Lucio Fontana met with a scathing critical response from New York art critics. Fontana (1899--1968), well known in Europe for his ser.Shipping may be from multiple locations in the US or from the UK, depending on stock availability. 344 pages. 0.771. Codice libro della libreria 9780262526159

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