Marshall Plan Modernism
Italian Postwar Abstraction and the Beginnings of Autonomia
Seiten
2016
Duke University Press (Verlag)
978-0-8223-6245-6 (ISBN)
Duke University Press (Verlag)
978-0-8223-6245-6 (ISBN)
Focusing on the work of Italian artists Lucio Fontana, Alberto Burri, and Piero Manzoni, Jaleh Mansoor demonstrates and reveals how abstract painting in post-WWII Italy critiqued the economic violence of the Marshall Plan and American hegemony, broke with fascist-associated futurism, and anticipated Italian social unrest in the 1960 and 1970s.
Focusing on artwork by Lucio Fontana, Alberto Burri, and Piero Manzoni, Jaleh Mansoor demonstrates and reveals how abstract painting, especially the monochrome, broke with fascist-associated futurism and functioned as an index of social transition in postwar Italy. Mansoor refuses to read the singularly striking formal and procedural violence of Fontana's slit canvasses, Burri's burnt and exploded plastics, and Manzoni's "achromes" as metaphors of traumatic memories of World War II. Rather, she locates the motivation for this violence in the history of the medium of painting and in the economic history of postwar Italy. Reconfiguring the relationship between politics and aesthetics, Mansoor illuminates how the monochrome's reemergence reflected Fontana, Burri, and Manzoni's aesthetic and political critique of the Marshall Plan's economic warfare and growing American hegemony. It also anticipated the struggles in Italy's factories, classrooms, and streets that gave rise to Autonomia in the 1960s. Marshall Plan Modernism refigures our understanding of modernist painting as a project about labor and the geopolitics of postwar reconstruction during the Italian Miracle.
Focusing on artwork by Lucio Fontana, Alberto Burri, and Piero Manzoni, Jaleh Mansoor demonstrates and reveals how abstract painting, especially the monochrome, broke with fascist-associated futurism and functioned as an index of social transition in postwar Italy. Mansoor refuses to read the singularly striking formal and procedural violence of Fontana's slit canvasses, Burri's burnt and exploded plastics, and Manzoni's "achromes" as metaphors of traumatic memories of World War II. Rather, she locates the motivation for this violence in the history of the medium of painting and in the economic history of postwar Italy. Reconfiguring the relationship between politics and aesthetics, Mansoor illuminates how the monochrome's reemergence reflected Fontana, Burri, and Manzoni's aesthetic and political critique of the Marshall Plan's economic warfare and growing American hegemony. It also anticipated the struggles in Italy's factories, classrooms, and streets that gave rise to Autonomia in the 1960s. Marshall Plan Modernism refigures our understanding of modernist painting as a project about labor and the geopolitics of postwar reconstruction during the Italian Miracle.
Jaleh Mansoor is Assistant Professor of Art History at the University of British Columbia and coeditor of Communities of Sense: Rethinking Aesthetics and Politics, also published by Duke University Press.
Acknowledgments vii
Introduction. Labor, (Workers') Autonomy, (Art) Work 1
1. The Monochrome in the Neocapitalist Laboratory 39
2. Lucio Fontana and the Politics of the Gesture 69
3. Alberto Burri's Plastics and the Political Aesthetics of Opacity 93
4. "We Want to Organicize Disintegration" 119
Conclusion. "Ready-Made Artist and Human Strike" or From Autonomy to Strike 167
Notes 207
Bibliography 249
Index 265
| Erscheinungsdatum | 16.09.2016 |
|---|---|
| Reihe/Serie | Art History Publication Initiative |
| Zusatzinfo | 26 illustrations, incl. 8 in color |
| Verlagsort | North Carolina |
| Sprache | englisch |
| Maße | 152 x 229 mm |
| Gewicht | 612 g |
| Themenwelt | Kunst / Musik / Theater ► Kunstgeschichte / Kunststile |
| ISBN-10 | 0-8223-6245-7 / 0822362457 |
| ISBN-13 | 978-0-8223-6245-6 / 9780822362456 |
| Zustand | Neuware |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
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