Bøger af Claire Gilman

This catalogue shows important Arte Povera works from the Sonnabend Collection that have rarely been exhibited in New York. Each of the Arte Povera artists in the Sonnabend Collectio is represented. The essay of Claire Gilman reexamines the Italian movement that Ileana Sonnabend was instrumental in bringing to the world's attention . Ileana Sonnabend's pioneering efforts in the promotion and dissemination art have long been celebrated. Less known is Sonnabend's early and unceasing dedication to European art of the sixities and senventies, particularly to the art of Italy.Late in 1962 Michael and Ileana Sonnabend opened the Galerie Ileana Sonnabend in Paris, where they exhibited the work of American artists but also the work of several young Italians, beginning with Mario Schifano (1963) and Michelangelo Pistoletto (1964). In addition to Pistoletto, Ileana Sonnabend showed the work of Giovanni Anselmo, Pier Paolo Calzolari, Jannis Kounellis, Mario Merz, Giulio Paolini and Gilberto Zorio, both in Paris and in the New York gallery that she had opened in 1970. In this way, Sonnabend played a seminal role not only in introducing American art to Europe but also in bringing contemporary European art to America. The "Arte Povera" was a group of twelve artists: Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Luciano Fabro, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Pino Pascali, Guiseppe Penone, Michelangelo Pistoletto, Gilberto Zorio. They produced one of the most authentic and independent European artistic interventions of the late 1960s. Pitted in certain ways against the hegemony of American art, specifically that of minimalist sculpture, it was also an artistic movement that recuperated the contradictory legacy of Italian avant garde culture from the beginning of the century as defined in the dialectics of Futurism and Giorgio De Chirico's Pittura Metafisica.

A richly illustrated, up-to-the-minute overview of new approaches in drawing, set in the context of recent developments of other forms of contemporary art. This book explores the variety of ways in which contemporary artists from around the world have come to approach drawing as the primary, sometimes the sole, element of their practice, and one which is autonomous: an end in itself rather than a means to an end in another, more substantial medium. In an era of advanced technologies where image production has accelerated - potentially beyond the capacity of human attention - what values can be attributed to the slow, deliberate process of drawing by hand? The artworks featured in this volume are not confined to traditional tools - one can also draw on a computer, tablet or smartphone, and examples of digital drawing are incorporated into the narrative not as a separate category but as one medium among many. Grouped thematically by specific approaches, including abstraction and figuration, nature and artifice, social observation and critique, with essays and feature spreads for each section, this selection of international artists of diverse backgrounds and experience includes not only recognizable names such as Michael Armitage, Camille Henrot, Robert Longo, Amy Sillman and Kara Walker, but also a host of emerging talents. Beautifully presented in a visually appealing and tactile format with the feel of an artist's portfolio, this is an inspiring overview of the best drawing practice today.

Using a restrained palette of pencil and colored pencil on paper, Greek artist Christiana Soulou (born 1961) draws figures that embody a ceaseless formation and fragmentation of the self. Soulou's wide range of characters includes the mysterious figures of the Tarot, the fantastical beasts of Borges' Book of Imaginary Beings and a series of awkward ballet dancers. The richness of Soulou's imagery and storytelling is at the core of her exploration of identity. Part of the 2000 Words series, conceived and commissioned by Massimiliano Gioni, and published by the Deste Foundation for Contemporary Art, 2000 Words: Christiana Soulou presents the entirety of the artist's works in the Dakis Joannou Collection and includes an essay by Claire Gilman examining the tension between the material and immaterial in Soulou's work.