You are looking at  1-5 of 5 results  for:

  • Sculpture and Carving x
  • Conceptual Art x
  • Arte Povera x
Clear All

Article

Renato Barilli

(b Borgofranco d’Ivrea, Piedmont, Aug 5, 1934).

Italian sculptor. After working as a painter from 1959 to 1964, he turned to conceptual art in 1965 and by 1968 was associated with the emergence of Arte Povera, of which he became one of the strictest and most coherent exponents. His limited output consisted largely of the staging of major physical processes whose long-term effects the audience was invited to imagine, in such a way that the non-material dimension of thought was brought to bear on bulky and spectacular physical phenomena. In Direction (150×500×800 mm, 1967–9; Paris, Pompidou), for instance, a magnetic compass is set within a circular recess of a slab of granite shaped like an arrowhead and displayed pointing north, thus proposing two different ways of expressing the concept alluded to by the title.

A consistent message in Anselmo’s work is that one should not entirely believe one’s eyes, since there is always a component that lies beyond appearances. In one sculpture, ...

Article

Matthew Gale

(b Turin, Nov 20, 1936; d Milan, June 23, 2007).

Italian sculptor, conceptual artist and writer. He frequented artistic circles in Udine in the mid-1950s. In 1958 Fabro saw Lucio Fontana’s contribution to the Venice Biennale and the following year moved to Milan, where he discovered the work of Yves Klein and Francesco Lo Savio and was closely associated with Piero Manzoni and Enrico Castellani. Their investigations of matter and space influenced Fabro’s idea of the artist as a facilitator of experiences without preconceived categories. After tentative early works, he embarked upon austere pieces that encapsulated phenomenological problems, such as The Hole (1963; artist’s col.), a mirror with the reflective coating partially scraped away. While the scraping mimicked the techniques of Art informel, the fusion of reflection and the recession, seen through the suspended glass, was indebted to Duchamp. His first one-man show (1965; Milan, Gal. Vismara) combined mirror pieces with the Spatial Lines, which demarcated their environment with tubular metal (e.g. ...

Article

Matthew Gale

(b Vergato, nr Bologna, Nov 24, 1943).

Italian painter, sculptor, conceptual artist and film maker. His first one-man show (1970; Milan, Gal. S Fedele) reflected his awareness of Arte Povera in the multifarious cut-outs of corrugated cardboard and rubber. Ontani’s major occupation was, however, enacting ritualized performances, as in the fire-walking film Fuochino (1972) shown at the Venice Biennale of 1972. In common with several contemporaries, he transformed himself, updating artistic quotations as a critique of past culture; he assumed a pose from David’s Rape of the Sabines in the punningly entitled Rattondo David (‘Raping David’, photographic tondo, 700 mm, 1974; see 1991 exh. cat., p. 43) to comment upon this process, as well as the retrospective sanitization of European culture. In performances at the Galleria L’Attico, Rome (with Jannis Kounellis, Francesco Clemente and others), Ontani acted out emblematic characters, from Don Quixote (1974) to Dracula (1975). In addition to such referential photographs as ...

Article

Nancy Ring

(b Turin, April 3, 1947).

Italian sculptor and conceptual artist. He created his earliest works in a forest outside Garessio in 1968. He marked his presence there with an iron hand gripping a tree trunk (see 1978 exh. cat., p. 33); trees pierced by nails and laced with metal wire; and a plaster slab measuring his width and height and the depth of a brook. The works revealed his interest in establishing points of contact between man and nature. A member of the Arte Povera group, he continued throughout his career to explore the connections between natural and cultural forms. In 12-meter Tree (1969; Stockholm, Mod. Mus.), one of a series, he carefully carved into a beam of wood to recover the original form of a tree, leaving part of the beam untouched to signify its status as a manmade object.

In the early 1970s Penone used his body as his principal subject, projecting images drawn from the surface of his skin on to plaster casts of his face or on to wall surfaces (see ...

Article

Matthew Gale

(b Andorno Micca, nr Biella, Piedmont, Sept 21, 1944).

Italian sculptor, performance artist and conceptual artist . He studied painting and sculpture at the Accademia di Belle Arti, Turin (1963–70) and held his first one-man show at the Galleria Sperone, Turin, in 1967. Use of such non-artistic materials as the scaffolding and foam of Chair (1967; New York, Sonnabend Gal.) ensured his inclusion in Arte Povera (1968; Bologna, Gal. de Foscherari) and performance at Arte Povera—azioni povere (1968; Amalfi, Arsenale). Zorio’s characteristic pieces rejected sculptural weight and solidity by use of cantilevers or suspension and reactions over time or with the environment. Several incorporated light; Phosphorescent Fist (1971; Paris, Pompidou) was lit and plunged into darkness, alternatively absorbing and emitting and absorbing energy, being lit and then unlit.

In common with his friend Giovanni Anselmo, Zorio raised linguistic problems, as in Odio (‘Hatred’), axed into a wall at Documenta 5, Kassel (1972), but his concern with energy led to experiments with both chemical and physical instability. He initiated gradual chemical reactions in his materials, which continued beyond the period of making, and used Olympic javelins to provide cantilevers; when combined with fragile, glass vessels or with the emblematic form of the five-pointed star (e.g. ...