Sentences with word «povera»

A significant chunk of the collection is devoted to the northern Italian Arte Povera movement of the 1970s and»80s, which has been having a renaissance on the secondary market over the past decade, with numerous works by leading names like Mario Merz, Michelangelo Pistoletto, and Jannis Kounellis.

In comparison, the Italian Arte Povera movement of the late 1960s and early 1970s comes to mind for its minimalist aesthetic, emphasis on action, and simple, everyday objects.

Clemente, however, felt a greater affinity with the previous generation of Arte Povera artists in Italy and responded to their adaptation of classical forms and myths in their work and fascination with the transformative power of alchemy.

In spite of (often inadvertently) sharing ground with Minimalism and Pop art, Piacentino's practice has defied categorization since his early, fraught association with Arte Povera in the 1960s.

As a participant in the Arte Povera group exhibition organized by Germano Celant in Genoa in 1967, Jannis Kounellis was quickly considered one of the major representatives of this artistic movement.

Born in 1940 in Genoa, Paolini's first solo exhibition was held at La Salita, Rome 1964, at the invitation of Germano Celant he exhibited in a series of Arte Povera exhibitions from 1967 - 1972 and was included in dOCUMENTA, Kassel in 1972, 77, 82, and 1992.

The exhibition includes art objects that are situated as «interventions» in the galleries of Byzantine, African and Surrealist art, culminating in a haunting set of works in dialogue with Arte Povera works from his native Italy.

There is also space for early 20th - century work with Arte Povera at Kewenig and German expressionists at Henze & Ketterer.

This is truly satisfying cucina povera in the hands of a master.

An important Arte Povera style work by Jannis Kounellis, Untitled was executed during an exciting and experimental period in the artist's career - the same year as his ground - breaking show at Galleria L'Attico, Rome where the artist brought twelve live horses into the gallery space and his Il Viaggio exhibition at Galleria Lucio Amelio, Naples, where the present work was exhibited.

2017 Post Truth / The Lie That Tells the Truth, Culture Lab, Detroit, MI Dark Povera Part 1, Atlanta Contemporary, Atlanta, GA

Sculptural installation of art povera materials such as concrete, earth, soil and elements of furniture coexist with abstract compositions on canvas.

Fabro's interest in exploring modes of perception was shared with other young Italian artists, such as Michelangelo Pistoletto and Giulio Paolini, with whom he collaborated in the so - called Arte Povera shows from 1968 onwards.

In 1967, Fabro had a group show called Arte Povera e Im Spazio which was a show in Genoa featuring artists such as Giulio Paolini, Pino Pascali, and Jannis Kounellis.

Most people will walk away thinking not about Benglis but about Giuseppe Penone and the other Arte Povera sculptors in these rooms.

Among the artists he does admire are those of the Italian Arte Povera generation, who in the 1960s alchemically transformed base materials into art and questioned what might constitute an exhibition.

Finally, Kounellis was also included in «RA3 Arte Povera + Azioni povere» which was organized by Marcello Rumma and curated by Celant.

Natural processes have always provided Arte Povera pioneer Giuseppe Penone with an analogue for his own labor as a sculptor.

Opened in 2005, the Merz Foundation in Turin houses an important collection of artworks by the Arte Povera master Mario Merz, at the same time tits supports contemporary art by organizing temporary exhibitions and cultural events.

Conceived as a selection of artists that are both influential to Almanza Pereda's neo-Arte Povera practice and in conversation with Present Company's curatorial program, the fifteen artists in the exhibition signify a loose community of practitioners working with humble materials to guide ideas to fantastical ends.

By the late 1960s however, postminimalism, process art and Arte Povera [121] also emerged as revolutionary concepts and movements that encompassed both painting and sculpture, via lyrical abstraction and the postminimalist movement, and in early conceptual art.

Eyes Wide Open: An Italian Vision, the most important private collection of Arte Povera ever to be shown in the UK, exploring the movement's roots in the work of Post-War Italian artists Alberto Burri, Lucio Fontana, Piero Manzoni and Fausto Melotti and its flowering in the works of artists such as Michelangelo Pistoletto, Alighero Boetti, Mario Merz, Luciano Fabro, Giulio Paolini, Pino Pascali, Giuseppe Penone and Emilio Prini.

Rudolf Stingel's paintings and installations take the defaced canvases of Arte Povera into friendly, D.I.Y. territory, enticing visitors into acts that would elsewhere be considered vandalism.

Academically, this move revealed the extent to which Arte Povera did or didn't come out of nowhere, and how, after its dissolution, the artists set out on the divergent, individually trademarked careers we know today.

The Sonnabend and Arte Povera circle was composed not only of artists, but also of collectors, art dealers, curators, critics, and friends.

The rectangle within a rectangle within a picture plane recalls the work of American artists like Josef Albers and Robert Mangold, and yet in its use of the industrial and found materials of rubber and leather, also resembles the work of Rama's Arte Povera contemporaries.

This two - volume publication accompanies the exhibition Ileana Sonnabend and Arte Povera held at Hauser & Wirth New York in 2017.

If Arte Povera emerged as a critique of modernity's push for postwar globalization (and its aesthetic expression in American Pop), the work of these contemporary artists similarly bristles against the smooth, seemingly immaterial dissemination of capital, information, and images within our present global order.

In this respect Arte Povera echoes Post-Minimalist tendencies in American art of the 1960s.

And last summer, in a coup, Gavin Brown's Enterprise bid farewell to Greenwich Street by restaging Jannis Kounellis's legendary Arte Povera installation centering on a herd of cooperative horses.

The show presents a catalog of Western art movements that you may have forgotten how to tell apart, names like Tachisme, Art Brut, Cobra, and Arte Povera along with Action Painting.

Then minimalism and arte povera came along, with their mutually incompatible boxes and grids, their poetry and images.

From our present vantage point, precisely fifty years later, several key tendencies of Arte Povera remain strikingly relevant.

Works by Eric Bainbridge, Tony Cragg, Ceal Floyer, Anya Gallaccio, Mona Hatoum, Jefford Horrigan, Stephen Nelson, Lucy Skaer, Gary Stevens, Jo Stockham, Gavin Turk and Richard Long — who participated in the first international Arte Povera event in Amalfi in 1968 — are shown alongside pieces by key Italian artists including Alighiero Boetti, Mario Merz, Giulio Paolini, Giuseppe Penone and Gilberto Zorio.

More over 99 Cents or Less understands itself as an extension of the Italian art movement Arte Povera within the globalized field of 21st century high end art manufacturing.

It was about two years ago that the Unmonumental show at the New Museum was drawing to a close, sparking hopeful chatter about the end of «Home Depot - chic,» «neo-Arte Povera,» or whatever your personal moniker is for it.

Arte Povera Movement (Poor Art - Proletarian Art) was during 1967 - 1972 and took place in cities throughout Italy: Turin, Milan, Rome, Genoa, Venice, Naples and Bologna.

But then the more famous Arte Povera approached its anti-art with a studied Italian elegance as well.

Germano Celant also wrote a book published by Electa in 1985 called «Arte Povera Storie e protagonisti», promoting the notion of a revolutionary art, free of convention, the power of structure, and the market place.

Arte Povera questioned many of modernism's artistic conventions and artists who took part in the movement were interested in the role of art as part of everyday life and applied the usage of cheap and readily available materials.

Made in the 1960s and 1970s, these works stem from a time when he had a close relationship with Arte Povera members such as Boetti and Giulio Paolini, from whom, he says, he learnt «the intelligence of materials».

Incongruous juxtapositions of commonplace objects, these improvised sculptural sketches elude strict conceptual logic, aligning themselves instead with a poetic lineage running from arte povera through Richard Wentworth to Cathy Wilkes and Francis Alÿs.

Illustrating the revolutionary influence of Arte Povera upon sculptural practice in America and Europe at this time, the exhibition highlighted a rejection of sophisticated methods of construction and traditional materials.