4.5 piero manzoni

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Art 109A: Art since 1945 Westchester Community College Fall 2012 Dr. Melissa Hall The Italian Vanguard in the 1960s

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Transcript of 4.5 piero manzoni

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Art 109A: Art since 1945 Westchester Community College Fall 2012 Dr. Melissa Hall

The Italian Vanguard in the 1960s

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Lucio Fontana One of the leading artists in postwar Italy was the Argentine-born Lucio Fontana

He founded a movement called Spazialismo, or Spatialism, and elaborated his theories in five manifestos published from 1947 to 1952

Lucio Fontana in his studio Image source: Italian Cultural Institute of Los Angeles

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Lucio Fontana His breakthrough came when he began making “pictures” by impregnating the canvas with pigment, and then slashing them to create real – rather than illusory – spatial effects

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“Piercing, slashing and assaulting the surface of his works, he challenged the traditional easel painting, forcing the viewer to contend with the work of art as an object in real space rather than a representation of illusionistic space.” Milwauke Art Museum

Lucio Fontana, Spatial Concept: Expectations, 1963 Hirshorn

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Lucio Fontana, Spatial Concept: Expectations, 1962 Hirshorn

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Piero Manzoni Italian artist based in Milan

Influenced by Lucio Fontana and Yves Klein

Piero Manzoni Image source: http://www.villagevoice.com/photoGallery/index/864191/0

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Piero Manzoni He began creating a series of “Achromes” (a variant on the monochrome) in 1957

Piero Manzoni, Achrome, 1958

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Piero Manzoni The achromes were made of canvas impregnated with white gesso or kaolin

The canvas was wrinkled or creased to call attention to the physical properties of the material

Piero Manzoni, Achrome, 1960 Museum of Modern Art

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Piero Manzoni The achromes were meant to be experienced as physical objects, rather than “windows” or “doorways” to another space

“Abstraction and references must be totally avoided. In our freedom of invention we must succeed in constructing a world that can be measured only in its own terms. We absolutely cannot consider the picture as a space onto which to project our mental scenography. It is the area of freedom in which we search for the discovery of our first images.” Piero Manzoni, 1957 http://collections.walkerart.org/item/object/8701

Piero Manzoni, Achrome, 1962 Museum of Modern Art

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Piero Manzoni, Achrome, 1962, 15 3/8 x 15 3/8 inches, Kaolin & bread rolls

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Piero Manzoni, Achrome, 1961-62, 24 3/16 x 18 1/8 inches, artificial fiber

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Piero Manzoni Manzoni’s next series moved in a more conceptual direction

Piero Manzoni, with one of his line works

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Piero Manzoni The line drawings were made on rolls of paper of various length and sealed in cardboard cylinders

Piero Manzoni, Line (fragment), 1959

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Piero Manzoni, Line 18.82m, September 1959 Tate Gallery

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Piero Manzoni The artist envisioned a global project of placing massively long line drawings in cities throughout the world

Piero Manzoni, Line 7,200 m., 4 July 1960 Herning, Denmark

Piero Manzoni, working on Line 7,200 m. at a newspaper mill

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Piero Manzoni He then came up with the idea of the line of infinite length -- a solid container that invites the viewer to imagine the line as “a metaphysical speculation”

Piero Manzoni, Line of Infinite Length, 1960

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Piero Manzoni

Piero Manzoni, Line 1000 Meters Long, 1961. Museum of Modern Art

“Line 1000 Meters Long is more conceptual than visual. Indeed the line that is its heart eludes the eye, for these canister works are usually shown closed. Art that is invisible raises the act of thinking above the act of seeing, as Manzoni also did when, for example, he signed eggs with his thumbprint and asked a show’s visitors to eat them. A line in a can is itself a conceptual conundrum. Playful but acute, Line 1000 Meters Long invites us to question our expectations of the artwork, and our responses to it.” Museum of Modern Art

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Piero Manzoni On July 21, 1960, Manzoni staged a kind of Happening called Consumption of dynamic art by the art-devouring public

Piero Manzoni, Consumption of dynamic art by the art-devouring public , July 21, 1960 Pieromanzoni.org

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Piero Manzoni The artist placed his thumbprints on eggs and fed them to the public

Piero Manzoni, Consumption of dynamic art by the art-devouring public , July 21, 1960 Pieromanzoni.org

“The "art devouring" project discloses a new trend in art, shifting her role from production to consumption. The spectator is involved in the artistic activity and turned himself into a work of art. "It is not our business to educate; nor is it our business to pass a message". http://www.pieromanzoni.org/EN/works.htm

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Living Sculptures The Living Sculpture series was inspired by Yves Klein’s Living Brush performances

Piero Manzoni, Living Sculptures, 1961

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Living Sculptures The artist signed actual people, transforming them into art

Piero Manzoni, Living Sculptures, 1961

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Living Sculptures He then issued a certificate of authenticity

Piero Manzoni, Living Sculptures, 1961

“A yellow stamp limited the artistic status to a body part, while a green one meant that the individual signed was a work of art under certain circumstances (i.e. only while sleeping or running). Finally a purple stamp stuck on the receipt of authenticity meant that the service was paid for” http://www.pieromanzoni.org/EN/works_shit.htm#scultureviventi

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Piero Manzoni In the Magic Base series, the artist created pedestals for people to stand on to become works of art

Piero Manzoni standing on Magic Base No. 2, 1961

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Piero Manzoni Socle du Monde turned the world itself into a work of art

Piero Manzoni Socle de Monde, 1962

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Piero Manzoni Anything touched by the artist could become a work of art

Piero Manzoni Thumbprint, 1960 Museum of Modern Art

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Piero Manzoni In this work the artist filled a balloon with his breath

Piero Manzoni Artist’s Breath, 1960 Tate Gallery

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Piero Manzoni The work is now in the Tate Gallery

Piero Manzoni Artist’s Breath, 1960 Tate Gallery

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Piero Manzoni Manzoni’s most radical work was his Merda d’artista

Piero Manzoni with Merda d’artista

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Piero Manzoni In this work, the artist filled 90 tin cans with his own excrement

He priced them according to their weight in gold

Piero Manzoni, Merda d’Artista, 1961 Museum of Modern Art

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Marcel Duchamp, Fountain, 1917

Piero Manzoni, Merda d’Artista, 1961 Museum of Modern Art

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Piero Manzoni

Piero Manzoni, Merda d’Artista, 1961 Museum of Modern Art

“Manzoni’s critical and metaphorical reification of the artist’s body, its processes and products, pointed the way towards an understanding of the persona of the artist and the product of the artist’s body as a consumable object. The Merda d’artista, the artist’s shit, dried naturally and canned ‘with no added preservatives’, was the perfect metaphor for the bodied and disembodied nature of artistic labour: the work of art as fully incorporated raw material, and its violent expulsion as commodity. Manzoni understood the creative act as part of the cycle of consumption: as a constant reprocessing, packaging, marketing, consuming, reprocessing, packaging, ad infinitum.” Tate Gallery