Sentences with phrase «italian art»

Simon Lee Gallery is proud to present an exhibition of acclaimed Italian artist Michelangelo Pistoletto, a key figure in the development of Italian art in the 1950's and 1960's and a founding member of the Arte Povera movement.

Politi will show abstract paintings made using scraps of canvas with acrylic, oil and household paint and small portraits on canvas, freely interpreting and transfiguring Modern Italian art.

PADIGLIONE D'ARTE CONTEMPORANEA Independent curator, critic, and pulp - fiction connoisseur Alessandro Riva explores a current that has run through Italian art for the past decade and a...

Sperone Westwater Fischer was founded in 1975, when Italian art dealer Gian Enzo Sperone, Angela Westwater, and German art dealer Konrad Fischer opened a space at 142 Greene Street in SoHo, New York (The gallery's name was changed to Sperone Westwater in 1982).

1973 X Quadriennale di Roma, Palazzo delle Esposizioni, Rome, IT An exhibition of Italian Art, The Arts Council of Northen Ireland Gallery, Belfast, UK Galleria Gian Enzo Sperone, Turin, IT Galerie M.T.L., Brussels, BE Huit italiens / acht italianes, Galerie Art & Project, Amsterdam, NL Within the decade, The Solomon R. Guggenheim Museum, New York, US

My favourite works are all by female artists, who are so often absent from Italian art history: Carla Accardi's fluorescent and candy - coloured Rotolo Arancio and Rotolo Verde (Orange Roll and Green Roll, both 1967), painted on sheets of rolled - up transparent plastic sheeting; Irma Blank's Twelve Chapters (1977), 12 laboriously hand - written books filled with the artist's elegant abstract signs, and Lisetta Carmi's I Travestiti (Transvestites, 1965 — 71), a pioneering and much censored photographic project about the trans community in Genoa.

He then had exhibitions later on in Japan and in Italian art galleries.

Founded in Florence in 1981 by Roberto Casamonti, the gallery specialises in Post-War Italian art, exhibiting artists such as Fontana, Burri, Castellani, Bonalumi, Boetti and Dadamaino.

Further highlights include Emilio Vedova's Per La Spagna (1962), one of the most resolved exemplars of the artist's celebrated Sotheby's sale of 20th Century Italian Art promises to be one of the most exciting events on the auction calendar this October.

«L'Inarchiviabile» (The Unarchivable), curated by Marco Scotini with Lorenzo Paini, covers two decades of Italian art practice, from the 1960s and»70s, with a vast selection of works loaned from Italy's main private collections.

A pioneer of Italian art, the exhibition features drawings, ceramics, and sculptures from the early 1930s through the mid 1980s by Italian sculptor, installation artist and poet Fausto Melotti (1901 - 1986).

The bold sculptures and inventive canvases of this pivotal figure of Post-War Italian Art helped to shape the course of Abstract Art, alongside artists such as Piero Manzoni and Enrico Castellani who sought to blur the boundaries between the two and three dimensional.

«Most people who have any interest in Post-War American art, whether Abstract Expressionism, Pop Art, Minimalism, Environmental Art, Conceptualism or Monochromism have heard of the great Italian art collector, Count Giuseppe Panza di Biumo.

«The Unarchivable», its opening group show, curated by Marco Scotini and Lorenzo Paini, brings together a selection of works from the crowded Italian art scene of the»70s, from Alighiero Boetti's and Luigi Ghirri's attempts to create personal, nonlinear archives, to the ephemeral gestures of Ketty La Rocca and Gianfranco Baruchello's «leftovers».

The MACRO's permanent collection includes an overwhelming selection of some of the most significant artists of the Italian art scene since the 1960s, with a respectable addition of artworks created by influential international artists.

The Gallant Apparel exhibition is a twentieth century Italian art exhibition that is coinciding with the many cultural events in London during October.

Taking as its point of departure Lucio Fontana's Spatialism, proclaimed in his Manifestos of 1947 and 1948, «THE GALLANT APPAREL: Italian Art and the Modern» charts a line through the main exponents -LSB-...]

Ferriso is the recipient of the 2012 Excellency Award from the Foundation for Italian Art and Culture, and a member of the International Council Museum Berggruen Berlin.

Alongside fellow Italian art enthusiasts, Antonio Fradeletto (economist, scholar and Secretary General of the Biennale) was keen to see paintings by leading British artists, and so invited a selection of artists from the radical Pre-Raphaelite art group to take part.

A new edition in the series Recollections, which revisits some of the Stedelijk's most esteemed historical exhibitions, will focus on the groundbreaking 1969 show: Op Losse Schroeven, in which Stedelijk Director Wim Beeren introduced contemporary American, British and Italian art and purchased important works for the Stedelijk collection, by Carl Andre, Giovanni Anselmo, Joseph Beuys, Ger van Elk, Mario Merz, Robert Morris, Bruce Nauman, Dennis Oppenheim, and others.

Leave a Bid Bid in the Room Bid Live Online Freeman's Live Invaluable Bid on the Telephone, (american, 1928 — 2011), provenance:, note:, Estimate $ 300,000 - 500,000, Painted in sweeping layers of ochre, umber, sienna, grey and azure blue, Cinquecento evokes the palette and grandeur of 16th Century Italian art referenced in its title.

Started by collectors Nancy Olnick and Giorgio Spanu, the private institution is dedicated to exhibiting postwar and contemporary Italian art.

Estimate $ 300,000 - 500,000 Painted in sweeping layers of ochre, umber, sienna, grey and azure blue, Cinquecento evokes the palette and grandeur of 16th Century Italian art referenced in its title.

In 2008, the artist will participate in: «Estratos,» Contemporary Art Project Murcia, curated by Nicolas Bourriaud and Aurelia Kreinbühl, PAC Murcia, Murcia, Spain and «Italics: Italian Art Between Tradition and Revolution, 1968 - 2008» curated by Francesco Bonami and co-presented by the Palazzo Grassi, Venice, Italy in 2008 and the Museum of Contemporary Art, Chicago, IL in 2009.

It all began in 1893 when the major of the Venetian City Council decided to set up a biennial exhibition in Venice to showcase the best Italian art.

Renaissance Art Period of Italian art from c. 1400 to 1530 characterized by increased emphasis on realism, the mastery of linear perspective and the rediscovery of classical art.

Our booth will highlight American and Italian art, and the relation and cross references between the two countries» art.

The term arte povera was introduced by the Italian art critic Germano Celant, who organised the exhibition «Arte Povera — Im Spazio» together with a small group of young Italian artists in 1967.

The Estorick Collection of Modern Italian Art presents Giorgio Morandi Works on Paper, on view 16 January — 7 April 2013.

Taking as a starting point Vittorio De Sica's 1963 film Il boom, Flavia Frigeri's exhibition explores the relationship between post-war Italian art and the economic miracle in the 1960s.

Francesco Poli, Italian art critic and curator, creates an elegant display of what is one of Italy's most prominent artistic periods.

JUROR: Vittorio Calabrese, Director, Magazzino Italian Art SUBMIT ONLINE June 9 — July 8, midnight NOTIFICATION of ARTISTS: via email, July 30, 2018 INTAKE: Monday, August 27, 12 - 6 pm PICK UP: Monday, October 15, 12 - 6 pm

There are other institutions in Rome that could champion local and Italian art: the city council - run Museum of Contemporary Art of Rome (MACRO) and the Museum of the Arts of the XXI Century (MAXXI).

DF Your exhibition «Italics: Italian Art between Tradition and Revolution, 1968 — 2008» just opened at the Museum of Contemporary Art, Chicago, having toured from the Palazzo Grassi in Venice, where it caused some controversy.

The special event has been organized in conjunction with Bellissima Italia, as part of the festival celebrating Italian art and culture.

At the time, I was working on a couple of Italian art articles and I noticed that one of my facebook acquaintances, was

Located in Albemarle Street with a 3,000 ft exhibition space spread over two floors, the gallery presents some of the great masters of Post-war Italian Art, with a focus on Arte Povera.

Located in Albemarle Street, the gallery presents some of the great masters of Post-war Italian Art.

By the late 1960s, the Italian art scene was dominated by the male members of the Arte Povera movement, including Alighiero Boetti, Mario Merz and Michelangelo Pistoletto.

Germano Celant is a renowned Italian art critic and curator at the Triennale Design Museum.

Because Cattelan's work often deals with Italian history and can suggest affinities with 20th - century Italian art, the exhibition also includes pieces by Lucio Fontana, Michelangelo Pistoletto, Alighiero e Boetti and Giovanni Anselmo, some of which are owned by the Menil, others of which are on loan from Houston collectors Nina and Michael Zilkha.

Claude's works focused on the major concerns of 17th - century Italian art - namely, the study of nature and the exploration of light.

Masters of modern Italian art from the Collection of Gianni Mattioli circulated by the International Exhibitions Foundation, 1967 - 1968.

Masters of modern Italian art from the Collection of Gianni Mattioli: presented in New York by Olivetti... March 5 - 30, 1969; circulated by the International Exhibitions Foundation, 1967-1968-1969: [participating museums, 1967 - 1968, The Phillips Collection, Washington, D.C.... et al..]

Pistoletto played a special part in pioneering the disruptive Italian art movement, Arte Povera.

The first monograph devoted to this great Italian artist.Franco Angeli was one of the leading figures in the Italian art of the postwar period.

Grove cites Untitled's affinity with postwar Italian art including DMA - owned pieces by postwar Italian artists Piero Manzoni and Alberto Burri and promised bequests of Giulio Paolini works that explore the canvas as an object.

Giosetta Fioroni: «L'Argento» (through June 2) This first American survey of Giosetta Fioroni reveals that we still have much to learn about postwar Italian art, despite recent gallery exhibitions of Lucio Fontana, Piero Manzoni, Giorgio Griffa, Gianni Colombo and Luigi Ghirri and museum shows of Michelangelo Pistoletto and Alighiero Boetti.

Late in life Mr. Castelli married a young Italian art critic, Barbara Bertozzi.

The foundation of the Venice Biennale at the end of the 19th century and a series of major international exhibitions led to a deeper interaction between Italian art and that produced elsewhere.