86 research outputs found
Enrico Crispolti, Luca Maria Patella. Hanno caldo al cubo
No full textAttraverso una serie di conversazioni inedite tra Enrico Crispolti e Luca Maria Patella e uno scritto teorico di Patella, annotati da Raffaele Bedarida e Antonio Petrone con puntuali riferimenti storico-critici, il volume ripercorre l'intera ricerca dell'artista dagli esordi alla fine degli anni Cinquanta fino al 2000, data delle conversazioni. Spaziando dalla pittura alla fotografia, dal cinema alla performance, illustrato da 65 immagini in bianco e nero e 16 a colori, ed introdotto da una nota storiografica di Bedarida, il libro è uno strumento fondamentale per approfondire non solo il lavoro di Patella ma i molti ambienti e situazioni artistiche in cui è intervenuto da protagonista senza mai lasciarsi incasellare
Enrico Crispolti, Gianfranco Baruchello. "I pittori non sono farfalle"
No full textAttraverso una serie di conversazioni inedite tra Enrico Crispolti e Gianfranco Baruchello, annotate da Raffaele Bedarida con puntuali riferimenti storico-critici, il volume ripercorre l'intera ricerca dell'artista dagli esordi alla fine degli anni Cinquanta al 2004, data delle conversazioni. Spaziando dalla pittura alla scultura, dal cinema alla performance, illustrato da 42 immagini in bianco e nero e 16 a colori, ed introdotto da una nota storiografica dell'autore, il libro è uno strumento fondamentale per approfondire non solo il lavoro di Baruchello ma i molti ambienti e situazioni artistiche di sui è stato protagonista
Bepi Romagnoni. Il Nuovo Racconto (1961-1964)
No full textA Bepi Romagnoni, artista milanese prematuramente scomparso nel 1964, è dedicata questa monografia di Raffaele Bedarida. Il volume ricostruisce la vicenda artistica e intellettuale di Romagnoni a partire dalla mostra “Possibilità di relazione” del 1960, intesa come un momento chiave di superamento dialettico dell’informale, ed approfondisce in particolare la produzione a collage e photomontage realizzati a partire dal 1961 fino al 1964. Si tratta di un corpus consistente e di alto livello, che spicca tra le voci di spicco della tendenza della cosiddetta Nuova Figurazione.
Il volume è completato da un'appendice documentario che raccoglie l'epistolario di Romagnoni con il critico Enrico Crispolti - con lettere inedite - e quattro testimonianze dirette di artisti e critici vicini all'artista
Corrado Cagli. Transatlantic bridges, 1938-1947
No full textIn the 1930s the young Italian artist, Corrado Cagli was a rising star of the Scuola Romana, supported by the Fascist regime despite being both Jewish and a homosexual. Following the Racial Laws, he fled first to Paris, and then to the USA, where he remained until 1947. Raffaele Bedarida’s new book, Corrado Cagli – La pittura, l’esilio, l’America (1938-1947) Donzelli Editore, 2018 (soon to be translated into English by CPL Editions), focuses on Cagli’s American exile.
While examining Cagli in the context of the artistic and intellectual migration from Europe to the US, Bedarida provides valuable new insight into the specific plight of this Italian Jewish artist, once championed by Fascism and into the complexities of the use of art for cultural diplomacy.
The author combines biography, cultural history, and critical analysis in exploring a decisive period in the life and work of a painter whose complex personality and non-signature style, defy classifications. The book also provides thought-provoking and nuanced arguments on the ideologically based ostracism that Cagli encountered upon returning to Italy in the immediate aftermath of the war. Because of his past as a former regime-endorsed artist, his recent American success, his participation in the liberation of Europe from Nazi-Fascism with the American army, and Jewish exile, Cagli simply did not fit into any of the faction of Italy’s post-war heated cultural disputes.
Based on extensive original research and written with brio, Bedarida’s book is an essential contribution to a growing field of studies that examine how, by welcoming artist and intellectuals in flight from Nazi-Fascism, the United States had been given what Will Norman has called “custodianship for a civilization.
‘Bombs Against the Skyscrapers:' Depero's Strange Love Affair with New York, 1928-1949
No full textThis study compares the activities of Fortunato Depero in New York to his fictional account of them. Depero’s first stay in New York in 1928–1930 was far from successful: in the midst of the Wall Street crash and its aftermath, his paintings failed to sell and his commercial enterprise in the city, the Futurist House, did not survive longer than a couple of months. The artist, however, created a myth out of his experience when he went back to Italy. For more than ten years, he wrote extensively about his American experience and dedicated several works to New York, in a variety of mediums. These expressed extreme enthusiasm about the city, as well as antagonism and even anger against it. After the fall of Mussolini, Depero returned to the ‘New Babel’ for two more years (1947–1949), which, again, proved a fiasco. Paradoxically for a Futurist, he was ultimately happy to leave the metropolis for a bucolic retreat in the suburbs of Connecticut. Depero’s ambivalent love affair with New York was part of the changing debate on Americanism that took place in Italy during the 1930s and, then, in the reconstruction years after World War II. This was a major avenue for Italians to define and re-define their own modernity, and Depero – in his idiosyncratic way – played a central part in this pursuit
Methodologies of Exchange: MoMA's "Twentieth-Century Italian Art" (1949)
No full textThe third issue of “Italian Modern Art” journal by CIMA (Center for Italian Modern Art) is dedicated to MoMA 1949 exhibition Twentieth-Century Italian Art. The publication is based on the conference, “Methodologies of Exchange: The Exhibition Twentieth-Century Italian Art (MoMA, 1949)” organized by Raffaele Bedarida, Silvia Bignami and Davide Colombo at CIMA in New York in February 2019, in connection with the Annual Conference of the College Art Association and the 70th anniversary of the original exhibition. The conference was made possible by a Terra Foundation for American Art grant.
The exhibition Twentieth-Century Italian Art at the Museum of Modern Art in New York, which constructed dominant interpretive keys that today continue to affect the study and perception of Italian modernism. In effect Twentieth-Century Italian Art was the first opportunity after World War II for American audiences to see the work of a substantial group of contemporary Italian artists. Curated by James Thrall Soby and Alfred H. Barr, Jr., the exhibition was followed by a vast campaign of acquisitions: MoMA added key Italian artists, from Umberto Boccioni to Lucio Fontana, to its permanent collection and thereby situated them within the museum’s influential narrative of modernism. Further, the Italian show aided MoMA curators in revising their institutional perspective in the Cold War context, moving it beyond a Paris-centered canon.
By studying this exhibition from multiple angles, this issue intends to explore and combine various methodological approaches. The initiative involved a group of international scholars who have focused on topics connected with Twentieth-Century Italian Art and the Italy-U.S. relationship from different fields of study, including exhibition histories, cultural transfer, cultural diplomacy, art and politics, the history of collecting, the history of the art market, and more
- …
