Influential, innovative and aesthetically experimental, the films
of Michelangelo Antonioni are widely recognized as both exemplars
of cinema and key in ushering in its 'new' or 'modern' incarnation
around 1960. Antonioni and the Aesthetics of Impurity offers a
radical rethinking of the director's work. It argues against
prevalent understandings of it in terms of both cinematic purity
and indebtedness to painting. Reconnecting Antonioni's
aesthetically audacious films of the 1960s and 1970s to the ferment
of their historical time, Antonioni and the Aesthetics of Impurity
brings into relief these works' crucial, yet overlooked, affinity
with the new, 'impure', art practices - of John Cage, Franco
Vaccari, Robert Smithson, Piero Gilardi and Andy Warhol among
others - that precipitated the demotion of painting from its
privileged position as a paradigm for all the arts. Revealing an
Antonioni who embraced both mixed and mass media and reflected on
them via cinema, the book replaces auteuristic, if not
hagiographic, accounts of the director's work with a new
understanding of its critical significance across the modern visual
arts and culture more broadly.
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