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The display of art in the Panza di Biumo Collection
No full textObiettivo della ricerca è l’indagine dei criteri e delle modalità con le quali Giuseppe Panza di Biumo ha concepito l’esposizione delle opere d’arte in collezione. Lo studio intende prendere in considerazione le componenti progettuali e visuali che sottendono l’approccio curatoriale del collezionista e le loro ripercussioni sullo spazio pubblico e privato.
Comprendendo un periodo storico che si estende dall’arte del secondo dopoguerra fino alle espressioni artistiche del presente, la collezione Panza include alcune delle vicende e tendenze più significative dell’arte contemporanea: Espressionismo Astratto, Pop Art, Minimal e Conceptual Art ed Arte Ambientale. Originariamente suddivisa in tre parti, per un totale di circa 2.500 opere d’arte, la raccolta è stata acquisita da alcuni dei principali musei americani, tra i quali: The Museum of Contemporary Art di Los Angeles, The Solomon R. Guggenheim Museum di New York, e più recentemente, l’Hirshhorn Museum and Sculpture Garden di Washington, D.C., l’Albright-Knox Art Gallery di Buffalo e il San Francisco Museum of Modern Art. Altre opere sono in prestito a lungo termine in diverse istituzioni culturali, mentre un nucleo sostanziale della collezione e la Villa Panza nei pressi si Varese sono stati donati al F.A.I. (Fondo per l’Ambiente Italiano) nel 1996.
Il proposito di rendere pubblica la raccolta e la costante sollecitudine del collezionista nell’esporre le opere d’arte nella maniera più adeguata, che lo hanno portato a concepire una considerevole quantità di progetti per musei, rendono la collezione un caso di studio di notevole interesse nella storia del collezionismo. Lo studio approfondisce il concetto di display of art secondo una prospettiva interdisciplinare, volta a convogliare discipline quali la museologia e la storia della cultura visuale contemporanea.
Il primo capitolo delinea il contesto storico della collezione attraverso tre principali direttrici: l’analisi dei contributi critici sulla raccolta, la sua eredità nell’ambito delle strategie del collezionismo e la disamina dei criteri espositivi della cultura contemporanea. Si evidenziano alcuni nodi tematici principali, il primo dei quali è il paradigma del collezionismo monografico che percorre la raccolta dai suoi inizi. Inoltre, nel contesto del collezionismo, l’operato del collezionista fa emergere la prospettiva globale che impronta sia i progetti per musei che i piani per l’istituzionalizzazione della raccolta.
Il secondo capitolo riguarda l’evoluzione dei criteri espositivi nella Villa Menafoglio Litta Panza di Varese. Se ne indagano motivazioni e soluzioni nel corso del tempo, proponendo che la villa ha costituito un terreno di verifica sul display che preparerà alla presentazione dell’arte nello spazio pubblico. All’analisi dell’esposizione congiunta di arte contemporanea, arte extraeuropea e arti decorative si unisce la disamina della relazione tra operatività artistica e autorialità del display. La parte conclusiva propone un panorama preliminare sul ruolo svolto dalla fotografia nella sperimentazione espositiva.
Il terzo capitolo è dedicato all’approccio curatoriale del collezionista nella sfera pubblica del museo. Tale attività è analizzata attraverso una serie di casi di studio tra i suoi progetti per musei e allestimenti selezionati in base a tre principali filoni tematici: le proposte per nuovi musei, l’esposizione dell’arte contemporanea in edifici storici italiani e la presentazione dell’arte in occasione di acquisizioni museali e mostre temporanee.
Il quarto capitolo delinea una fenomenologia dell’effimero nelle ricerche contemporanee di Minimal Art, Arte Concettuale e Arte Fenomenica in relazione alla pratica collezionistica ed espositiva di Giuseppe Panza. L’accezione di effimero viene indagata sia nelle sue componenti immateriali e materiali, evidenziando il rapporto tra attività curatoriale e prassi artistica.
La ricerca si è avvalsa del materiale documentario conservato presso il Getty Research Institute di Los Angeles e l’archivio Panza Collection di Mendrisio.The main goal of this research is the study of Giuseppe Panza di Biumo’s criteria and approach to the presentation of artworks from his collection. The dissertation investigates the visual and planning elements that underpin Panza’s concept of showing artworks, while aiming to analyse his curatorial practice in both public and private space.
Spanning a period from Post-World War II to the present, the Panza Collection includes major movements and tendencies in contemporary art such as Abstract Expressionism, Pop Art, Minimal, Conceptual and Environmental Art. Originally composed of three parts, for a total of around 2,500 works of art, most of the collection has been acquired by major American museums, such as the Museum of Contemporary Art in Los Angeles, the Solomon R. Guggenheim Museum in New York, and more recently by the Hirshhorn Museum and Sculpture Garden, Washington, D.C., the Albright-Knox Art Gallery in Buffalo and the San Francisco Museum of Modern Art. Other works are on long-term loan to European institutions, while a large number of artworks remains in the Panza family villa in Biumo Superiore, Italy. It was donated to the F.A.I. (Fondo per l'Ambiente Italiano) in 1996.
During his long-lasting activity, Panza has devoted himself to turn his private collection into a public one. His concern about housing the artworks in proper spaces has led the collector to conceive a large amount of museum projects. Given its history and developments, this collection can be considered one of the most significant case studies in the history of collecting contemporary art. The dissertation focuses on the display of art according to an interdisciplinary perspective comprising museum studies as well as visual culture.
The first chapter provides an historical context on the collection through three main topics: the critical analysis of the studies, Panza’s legacy in collecting practices, and the context of the display of art in which he has historically operated. This section raises relevant issues in the history of this collection, such as the monographic criteria in the acquisition of artworks. Moreover, given the context of contemporary collecting, it can be argued that Panza’s activity has been clearly shaped by a global perspective underlying both his museum projects and plans for the institutionalization of the collection.
The second chapter focuses on the evolution of the display of art in Villa Menafoglio Litta Panza in Varese over the course of time. I propose that the experimental features of such an articulated display anticipates on future developments of the public presentation of art. While analysing the combined presentation of contemporary art, furniture, African and Pre-Colombian artworks, the chapter investigates the relation between artistic practices and authorship in the display of art. Finally, I analyse the role played by photography in the presentation of artworks.
The collector as curator is the main topic of the third chapter. Among Panza’s museum projects and installation designs, I have identified three main topics to be analysed through case studies: proposals for entirely new museums, contemporary art housed in historical buildings, and plans for permanent and temporary exhibitions in existing institutions.
The fourth chapter investigates a phenomenology of the ephemeral in Minimal Art, Conceptual Art and Phenomenal Art in relation to Panza’s collecting and curatorial practice. Proposing the term «ephemeral» to define the changed nature of art making, in both its immaterial and material aspects, I take into consideration the lively exchange between artistic and collection practice.
I have conducted this research at the Special Collections of the Getty Research Institute, Los Angeles and at the Panza Collection’s archive in Switzerland
Richard Serra e l\u27Italia. Uno sguardo sulla tradizione artistica e l\u27identità visiva di una nazione
No full textL\u27articolo ripercorre l\u27intreccio di viaggi, allusioni ed omaggi alla cultura italiana nella carriera di Richard Serra. L\u27articolo ripercorre l\u27intreccio di viaggi, allusioni ed omaggi alla cultura italiana nella carriera di Richard Serra. 
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
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