4.5 piero manzoni

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4.5 piero manzoni

  1. 1. The Italian Vanguard in the 1960sArt 109A: Art since 1945Westchester Community CollegeFall 2012Dr. Melissa Hall
  2. 2. Lucio FontanaOne of the leading artists inpostwar Italy was the Argentine-born Lucio FontanaHe founded a movement calledSpazialismo, or Spatialism, andelaborated his theories in fivemanifestos published from 1947 to1952 Lucio Fontana in his studio Image source: Italian Cultural Institute of Los Angeles
  3. 3. Lucio FontanaHis breakthrough came when hebegan making “pictures” byimpregnating the canvas withpigment, and then slashing them tocreate real – rather than illusory –spatial effects
  4. 4. “Piercing, slashing and assaulting thesurface of his works, he challenged thetraditional easel painting, forcing the viewerto contend with the work of art as an objectin real space rather than a representation ofillusionistic space.”Milwauke Art Museum Lucio Fontana, Spatial Concept: Expectations, 1963 Hirshorn
  5. 5. Lucio Fontana, Spatial Concept: Expectations, 1962Hirshorn
  6. 6. Piero ManzoniItalian artist based in MilanInfluenced by Lucio Fontana andYves Klein Piero Manzoni Image source: http://www.villagevoice.com/photoGallery/index/864191/0
  7. 7. Piero ManzoniHe began creating a series of“Achromes” (a variant on themonochrome) in 1957 Piero Manzoni, Achrome, 1958
  8. 8. Piero ManzoniThe achromes were made ofcanvas impregnated with whitegesso or kaolinThe canvas was wrinkled orcreased to call attention to thephysical properties of the material Piero Manzoni, Achrome, 1960 Museum of Modern Art
  9. 9. Piero ManzoniThe achromes were meant to beexperienced as physical objects,rather than “windows” or“doorways” to another space“Abstraction and references mustbe totally avoided. In our freedomof invention we must succeed inconstructing a world that can bemeasured only in its own terms.We absolutely cannot consider thepicture as a space onto which toproject our mental scenography. Itis the area of freedom in which wesearch for the discovery of ourfirst images.”Piero Manzoni, 1957http://collections.walkerart.org/item/object/8701 Piero Manzoni, Achrome, 1962 Museum of Modern Art
  10. 10. Piero Manzoni, Achrome, 1962, 15 3/8 x 15 3/8 inches, Kaolin & bread rolls
  11. 11. Piero Manzoni, Achrome, 1961-62, 24 3/16 x 18 1/8 inches, artificial fiber
  12. 12. Piero ManzoniManzoni’s next series moved in amore conceptual direction Piero Manzoni, with one of his line works
  13. 13. Piero ManzoniThe line drawings were made onrolls of paper of various length andsealed in cardboard cylinders Piero Manzoni, Line (fragment), 1959
  14. 14. Piero Manzoni, Line 18.82m,September 1959Tate Gallery
  15. 15. Piero Manzoni The artist envisioned a global project of placing massively long line drawings in cities throughout the worldPiero Manzoni, Line 7,200 m., 4 July 1960 Piero Manzoni, working on Line 7,200 m. at a newspaperHerning, Denmark mill
  16. 16. Piero ManzoniHe then came up with the idea ofthe line of infinite length -- a solidcontainer that invites the viewer toimagine the line as “a metaphysicalspeculation” Piero Manzoni, Line of Infinite Length, 1960
  17. 17. Piero Manzoni“Line 1000 Meters Long is moreconceptual than visual. Indeed theline that is its heart eludes the eye, forthese canister works are usuallyshown closed. Art that is invisibleraises the act of thinking above theact of seeing, as Manzoni also didwhen, for example, he signed eggswith his thumbprint and asked ashow’s visitors to eat them. A line in acan is itself a conceptual conundrum.Playful but acute, Line 1000 MetersLong invites us to question ourexpectations of the artwork, and ourresponses to it.”Museum of Modern Art Piero Manzoni, Line 1000 Meters Long, 1961. Museum of Modern Art
  18. 18. Piero ManzoniOn July 21, 1960, Manzoni stageda kind of Happening calledConsumption of dynamic art by theart-devouring public Piero Manzoni, Consumption of dynamic art by the art-devouring public , July 21, 1960 Pieromanzoni.org
  19. 19. Piero ManzoniThe artist placed his thumbprints oneggs and fed them to the public“The "art devouring" project disclosesa new trend in art, shifting her rolefrom production to consumption. Thespectator is involved in the artisticactivity and turned himself into a workof art. "It is not our business toeducate; nor is it our business to passa message".http://www.pieromanzoni.org/EN/works.htm Piero Manzoni, Consumption of dynamic art by the art-devouring public , July 21, 1960 Pieromanzoni.org
  20. 20. Living SculpturesThe Living Sculpture series wasinspired by Yves Klein’s LivingBrush performances Piero Manzoni, Living Sculptures, 1961
  21. 21. Living SculpturesThe artist signed actual people,transforming them into art Piero Manzoni, Living Sculptures, 1961
  22. 22. Living Sculptures He then issued a certificate of authenticity“A yellow stamp limited the artistic status to a bodypart, while a green one meant that the individualsigned was a work of art under certaincircumstances (i.e. only while sleeping or running).Finally a purple stamp stuck on the receipt ofauthenticity meant that the service was paid for”http://www.pieromanzoni.org/EN/works_shit.htm#scultureviventi Piero Manzoni, Living Sculptures, 1961
  23. 23. Piero ManzoniIn the Magic Base series, the artistcreated pedestals for people tostand on to become works of art Piero Manzoni standing on Magic Base No. 2, 1961
  24. 24. Piero ManzoniSocle du Monde turned the worlditself into a work of art Piero Manzoni Socle de Monde, 1962
  25. 25. Piero ManzoniAnything touched by the artist couldbecome a work of art Piero Manzoni Thumbprint, 1960 Museum of Modern Art
  26. 26. Piero ManzoniIn this work the artist filled a balloonwith his breath Piero Manzoni Artist’s Breath, 1960 Tate Gallery
  27. 27. Piero ManzoniThe work is now in the Tate Gallery Piero Manzoni Artist’s Breath, 1960 Tate Gallery
  28. 28. Piero ManzoniManzoni’s most radical work washis Merda d’artista Piero Manzoni with Merda d’artista
  29. 29. Piero ManzoniIn this work, the artist filled 90 tincans with his own excrementHe priced them according to theirweight in gold Piero Manzoni, Merda d’Artista, 1961 Museum of Modern Art
  30. 30. Marcel Duchamp, Fountain, 1917Piero Manzoni, Merda d’Artista, 1961Museum of Modern Art
  31. 31. Piero Manzoni“Manzoni’s critical and metaphoricalreification of the artist’s body, itsprocesses and products, pointed theway towards an understanding of thepersona of the artist and the product ofthe artist’s body as a consumableobject. The Merda d’artista, the artist’sshit, dried naturally and canned ‘withno added preservatives’, was theperfect metaphor for the bodied anddisembodied nature of artistic labour:the work of art as fully incorporatedraw material, and its violent expulsionas commodity. Manzoni understood thecreative act as part of the cycle ofconsumption: as a constantreprocessing, packaging, marketing,consuming, reprocessing, packaging,ad infinitum.”Tate Gallery Piero Manzoni, Merda d’Artista, 1961 Museum of Modern Art

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