![]() ![]() While returning to the project of a synthesis of the arts in such installations, in his choice of materials such as fluorescent paint and neon light, Fontana also demonstrated the medium's closeness to the commodity spectacle ushered in by the post-WWII economic boom. Through an innovative use of modern lighting technology these 'environments' engaged with both the architectural and phenomenological dimensions of space. After the war, Fontana produced several large-scale installation works. By prostrating his sculptures on the ground, and employing light-reflective glazes, Fontana emphasized the material basis of his work while continuing to stress its relationship to the physical surroundings. However, a similar repudiation of the autonomous art object lay behind the employment the question of the art work's connection to its environment through polychrome decorative ceramics. Engaged in modernist debates sculptures that were visually integrated with the architectural wall. In the early 1930s Fontana attacked the idealism of traditional figurative sculpture through an irreverent use of color. The protean nature of art, is interpreted as a critical response to the fraught condition of 20 th century artistic avant-gardes. This study examines the intersection between modernism and mass culture in the art work of Lucio Fontana (1899-1968). Works such as Concetto Spaziale, Attesa, serve to highlight the historical importance of the Italian artist, highlighting his unique vision and placing him at the forefront of post-war history.Lucio Fontana: Between utopia and kitsch (Italy) Book Bib ID The Tagli are arguably considered to be some of the most sought-after group of works ever created by Fontana. ![]() ![]() Fontana’s approach to the canvas can be compared to the experiments of several avant-garde artists, including Yves Klein’s bright monochromes or in Dan Flavin’s luminous installations, which emphasise the use of natural elements such as light and air. Finally, he would apply black gauze - or “telleta” - to the reverse of the torn canvas to accentuate its impression of infinite depth and suggest the insurmountable nothingness of the cosmological void. He then widened each incision with his fingers, allowing the freshly cut strips to curve inwards. The artist created these works with a sharp blade that he manipulates with dexterity to quickly cut into his still wet canvases in a singular, descending gesture. The series of Tagli, one of the most important contributions to the history of contemporary art, is revolutionary, since it consists of an original interpretation of the artist’s gesture, which no longer remains on the surface, but penetrates the canvas. 117-18).Īrtwork: © Stephen Flavin / Artists Rights Society, New York and DACS, London 2022 He first started exploring the concept with the first Manifesto Blanco, in which he stated, “we don’t care if a gesture, once performed, lives for a moment or a millennium, since we are truly convinced that once performed it is eternal” ( First Spatialist Manifesto, 1947, reproduced in Enrico Crispolti et al. The Italian artist worked on five different manifestoes which paved the way for the genesis of “Spazialismo”, the art movement he founded in 1947. ![]() In this case, instead of the cool white tonality, Fontana opted for a luminous, fluorescent hue, that alludes to the vibrancy of the Sixties. A year prior to executing the present work, in 1966, he filled an entire room with all white works from the series Tagli at the Venice Biennale, stating that he found a way of “giving the spectator an impression of calm, cosmic rigour, of serenity in infinity” (Enrico Crispolti, Lucio Fontana, Catalogo Ragionato di Sculture, Dipinti, Ambientazioni,Vol I, Milan 2006, p. The present work is a vivid example of Fontana’s most recognised series and dates back to the years of the height of the artist’s international career. All rights reserved.Īrtwork: © Lucio Fontana/SIAE/DACS, London 2022 ![]()
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