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This book takes an interdisciplinary, transnational and
cross-cultural approach to reflect on, critically examine and
challenge the surprisingly robust practice of making art after
death in an artist's name, through the lenses of scholars from the
fields of art history, economics and law, as well as practicing
artists. Works of art conceived as multiples, such as sculptures,
etchings, prints, photographs and conceptual art, can be-and often
are-remade from original models and plans long after the artist has
passed. Recent sales have suggested a growing market embrace of
posthumous works, contemporaneous with questioning on the part of
art history. Legal norms seem unready for this surge in posthumous
production and are beset by conflict across jurisdictions.
Non-Western approaches to posthumous art, from Chinese emulations
of non-living artists to Native American performances, take into
account rituals of generational passage at odds with contemporary,
market-driven approaches. The book will be of interest to scholars
working in art history, the art market, art law, art management,
museum studies and economics.
On the centenary of the fascist party's ascent to power in Italy,
Curating Fascism examines the ways in which exhibitions organized
from the fall of Benito Mussolini's regime to the present day have
shaped collective memory, historical narratives, and political
discourse around the Italian ventennio. It charts how shows on
fascism have evolved since the postwar period in Italy, explores
representations of Italian fascism in exhibitions across the world,
and highlights blindspots in art and cultural history, as well as
in exhibition practices. Featuring contributions from an
international group of art, architectural, design, and cultural
historians, as well as journalists and curators, this book treats
fascism as both a historical moment and as a major paradigm through
which critics, curators, and the public at large have defined the
present moment since World War II. It interweaves historical
perspectives, critical theory, and direct accounts of exhibitions
from the people who conceived them or responded to them most
significantly in order to examine the main curatorial strategies,
cultural relevance, and political responsibility of art exhibitions
focusing on the Fascist period. Through close analysis, the chapter
authors unpack the multifaceted specificity of art shows, including
architecture and exhibition design; curatorial choices and
institutional history; cultural diplomacy and political history;
theories of viewership; and constructed collective memory, to
evaluate current curatorial practice. In offering fresh new
perspectives on the historiography, collective memory, and
understanding of fascist art and culture from a contemporary
standpoint, Curating Fascism sheds light on the complex exhibition
history of Italian fascism not just within Italy but in such
countries as the USA, the UK, Germany, and Brazil. It also presents
an innovative approach to the growing field of exhibition theory by
bringing contributions from curators and exhibition historians, who
critically reflect upon curatorial strategies with respect to the
delicate subject of fascism and fascist art, into dialogue with
scholars of Italian studies and art historians. In doing so, the
book addresses the physical and cultural legacy of fascism in the
context of the current historical moment.
This book is the first critical interdisciplinary examination in
English of Italian women’s contributions to intellectual,
artistic, and cultural production in modern Italy. Examining
commonalities and diversities from the country’s Unification to
today, the volume provides insight into the challenges that Italian
women engaged in cultural production have faced, and the strategies
they have deployed in order to achieve their objectives. The essays
address a range of issues, from women’s self-identification and
public ownership of their professional roles as laborers in the
intellectual and cultural realm, to questions about motherhood and
financial remuneration, to the role of creative foreign women in
Italy. Through critical analysis and direct testimony from new and
typically marginalized voices, including an Arab-Italian writer, an
Italian-Dominican filmmaker, and a transgender activist, new forms
of ongoing struggle emerge that redefine the culturally diverse
landscape of female intellectual and creative production in Italy
today. The volume rethinks a solely national “Made in Italy”
reading of the subject of female intellectual labor, demonstrating
instead the wide network of influences and relationships that have
existed for Italian women in their professional aspirations.
Lead in Modern and Contemporary Art is the first edited volume to
critically examine uses of lead as both material and cultural
signifier in modern and contemporary art. The book analyzes the
work of a diverse group of artists working in Europe, the Middle
East, and North America, and takes into account the ways in which
gender, race, and class can affect the cultural perception of lead.
Bringing together contributions from a distinguished group of
international contributors across various fields, this volume
explores lead’s relevance from a number of perspectives,
including art history, technical art history, art criticism, and
curatorial studies. Drawing on current art historical concerns with
materiality, this volume builds on recent exhibitions and
scholarship that reconsider the role of materials in shaping
artistic meaning, thus giving a central relevance to the object and
its physicality.
Medardo Rosso (1858-1928) is one of the most original and
influential figures in the history of modern art, and this book is
the first historically substantiated critical account of his life
and work. An innovative sculptor, photographer, and draftsman,
Rosso was vital in paving the way for the transition from the
academic forms of sculpture that persisted in the nineteenth
century to the development of new and experimental forms in the
twentieth. His antimonumental, antiheroic work reflected alienation
in the modern experience yet showed deep feeling for interactions
between self and other. Rosso's art was transnational: he refused
allegiance to a single culture or artistic heritage and declared
himself both a citizen of the world and a maker of art without
national limits. In this book, Sharon Hecker develops a narrative
that is an alternative to the dominant Franco-centered perspective
on the origin of modern sculpture in which Rodin plays the role of
lone heroic innovator. Offering an original way to comprehend
Rosso, A Moment's Monument negotiates the competing cultural
imperatives of nationalism and internationalism that shaped the
European art world at the fin de siecle.
Postwar Italian Art History Today brings fresh critical
consideration to the parameters and impact of Italian art and
visual culture studies of the past several decades. Taking its cue
from the thirty-year anniversary of curator Germano Celant's
landmark exhibition at PS1 in New York - The Knot - this volume
presents innovative case studies and emphasizes new methodologies
deployed in the study of postwar Italian art as a means to evaluate
the current state of the field. Included are fifteen essays that
each examine, from a different viewpoint, the issues, concerns, and
questions driving postwar Italian art history. The editors and
contributors call for a systematic reconsideration of the artistic
origins of postwar Italian art, the terminology that is used to
describe the work produced, and key personalities and institutions
that promoted and supported the development and marketing of this
art in Italy and abroad.
Postwar Italian Art History Today brings fresh critical
consideration to the parameters and impact of Italian art and
visual culture studies of the past several decades. Taking its cue
from the thirty-year anniversary of curator Germano Celant's
landmark exhibition at PS1 in New York - The Knot - this volume
presents innovative case studies and emphasizes new methodologies
deployed in the study of postwar Italian art as a means to evaluate
the current state of the field. Included are fifteen essays that
each examine, from a different viewpoint, the issues, concerns, and
questions driving postwar Italian art history. The editors and
contributors call for a systematic reconsideration of the artistic
origins of postwar Italian art, the terminology that is used to
describe the work produced, and key personalities and institutions
that promoted and supported the development and marketing of this
art in Italy and abroad.
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