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Fontana sculptor returns to 69 / a Strada in New York

2022-11-05T10:18:58.098Z


Moon in Venice and Space Sculptures by Hauser Wirth (ANSA) NEW YORK - Lucio Fontana's "Moon in Venice" "comes home" to New York: in November 1961 Martha Jackson's gallery on the Upper East Side hosted the artist's first American solo show. "They wanted an exhibition on" cuts ": Fontana arrived with ten Venetian paintings", explains Luca Massimo Barbero, the curator of the new review of three-dimensional works by the Italian-Argentine artist opened today b


NEW YORK - Lucio Fontana's "Moon in Venice" "comes home" to New York: in November 1961 Martha Jackson's gallery on the Upper East Side hosted the artist's first American solo show.

"They wanted an exhibition on" cuts ": Fontana arrived with ten Venetian paintings", explains Luca Massimo Barbero, the curator of the new review of three-dimensional works by the Italian-Argentine artist opened today by Houser & Wirth on 69 / a street, in the same spaces occupied by Jackson in the sixties.

The project is the second of a trilogy conceived by the Fontana Foundation to bring to light less explored aspects of the artist, especially outside Europe: it follows the Los Angeles exhibition on "space environments" and will conclude with an anthology in Hong Kong.

Two '

The question that Barbero tried to answer is the one that Enrico Crispolti asked himself when Fontana was still alive: "What if he had been just a sculptor?".

Hauser & Wirth placed three-dimensional works on loan from institutions, museums and collectors to demonstrate that sculpture was an intrinsic practice of Fontana's artistic project from the beginning to the end of his career.

Works in terracotta, concrete, clay, metal, glass and wood created over five decades, from the 1920s to his death in 1968. For Barbero, Fontana was an artist who "always tried to change always in order not to become iconic." Spatial Concept: the Moon in Venice "at the entrance to the exhibition is contrasted with a series of drawings that reflect Fontana's initial visit to New York, carried around by the

architect and collector of his works, Philip Johnson.

The exhibition continues with a leap back: a rarely exhibited "Nude" from 1926 and an exploration of 1930s work, including the "Tablet Graffita", "Figura alla Finestra", "Conchiglie e Farfalle" and "Cavalli Marini" they illustrate the syncretism between abstract and figurative with which Fontana's work began to express pure innovation in the broader context of European sculpture.

We then move on to the abstract explorations that coexist with the figurative of the following decade: 'Spatial Sculpture' of 1947 is contrasted in dialogue with "Female Figure with Flowers" of 1948.

of 1926 rarely exhibited and an exploration of the work of the Thirties, including the "Tablet Graffita", "Figura alla Finestra", "Conchiglie and Farfalle" and "Cavalli Marini" illustrate the syncretism between abstract and figurative with which the work di Fontana began to express pure innovation in the broader context of European sculpture.

We then move on to the abstract explorations that coexist with the figurative of the following decade: 'Spatial Sculpture' of 1947 is contrasted in dialogue with "Female Figure with Flowers" of 1948.

of 1926 rarely exhibited and an exploration of the work of the Thirties, including the "Tablet Graffita", "Figura alla Finestra", "Conchiglie and Farfalle" and "Cavalli Marini" illustrate the syncretism between abstract and figurative with which the work di Fontana began to express pure innovation in the broader context of European sculpture.

We then move on to the abstract explorations that coexist with the figurative of the following decade: 'Spatial Sculpture' of 1947 is contrasted in dialogue with "Female Figure with Flowers" of 1948.

they illustrate the syncretism between abstract and figurative with which Fontana's work began to express pure innovation in the broader context of European sculpture.

We then move on to the abstract explorations that coexist with the figurative of the following decade: 'Spatial Sculpture' of 1947 is contrasted in dialogue with "Female Figure with Flowers" of 1948.

they illustrate the syncretism between abstract and figurative with which Fontana's work began to express pure innovation in the broader context of European sculpture.

We then move on to the abstract explorations that coexist with the figurative of the following decade: 'Spatial Sculpture' of 1947 is contrasted in dialogue with "Female Figure with Flowers" of 1948.

The top floor is dedicated to the experiments of the late 50s and 60s: from the works 'Concept Spatial Nature' - sculptures torn by cuts - to the 'Ellipses' created in metal at the end of life and described by critics as "space capsules" performed by machine in which the conceptual dimension becomes pre-eminent.

Source: ansa

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