‎Sculpture‎

‎Artisti: Huebler Douglas, Samaras Lucas, Rivers Larry, Indiana Robert, di Suvero Mark, Dine Jim‎

‎Whitney Museum of American Art. Annual Exhibition 1966‎

‎F.to: 21X21; pagg. 94; BN; rileg. brossura. Editore: Whitney Museum , New York, 1967.‎

‎Villalba Dario‎

‎Dario Villalba. XXXV Venice Biennal Spanish Pavillion‎

‎F.to: 25x20; pagg. 24; BN; rileg. brossura. Editore: Graficas Valera, Madrid, 1970.‎

‎Bustamante Jean-Marc‎

‎Jean-Marc Bustamante‎

‎Austere and cryptic, with just a hint of scruff, this is formalism with a little French materialism. Bustamante is a photographer, sculptor, designer and architect whose artworks are as beautiful to look at as they difficult to categorize. Lush landscape photographs of the artist's native Barcelona are featured alongside objects of wood, steel, carpet, plastic and cement. Together, they formulate materialist fields with geographic and/or architectural overtones. An eloquent essay by one of Paris's leading critics provides an insightful introduction to Bustamante's multi-faceted and enigmatic work. This is the first English language catalogue on this important French artist, a participant in both Documenta 8 and 9. — Testi: Ghez Susanne, Chevrier Jean-Francois. F.to: 23x30; pagg. 68; COL e BN; rileg. brossura. Editore: The Ranaissance Society at the University of Chicago, Chicago, 1993.‎

‎Moholy-Nagy‎

‎Moholy-Nagy Documenti Martano Due #49‎

‎F.to: 12x22,5; pagg. 32; BN; rileg. brossura. Editore: Galleria Martano, Torino, 1975.‎

‎Appel Karel‎

‎Karel Appel‎

‎Testi: Sandberg. F.to: 24x31,5; pagg. 10; COL e BN; rileg. brossura. Editore: Galerie Rive Droite, Paris, 1962.‎

‎Johns Jasper‎

‎Jasper Johns‎

‎Testi: Solomon Alan R.. F.to: 21x24; pagg. 64; BN; rileg. brossura. Editore: The Jewish Museum, New York, 1964.‎

‎Handbook of the cone collection‎

‎F.to: 20x25,5; pagg. 56; COL e BN; rileg. brossura. Editore: The Baltimore Museum of Art, Boltimore, 1955.‎

‎Schwitters Kurt‎

‎Kurt Schwitters‎

‎Testi: Bolliger Hans, Schwitters Ernst. F.to: 21x23; pagg. 68; 110 BN; rileg. brossura. Editore: Toninelli Arte Moderna, Milano, 1964.‎

‎Judd Donald‎

‎Donald Judd. Sculpture‎

‎F.to: 22,5x30,5; pagg. 48; COL e BN; rileg. brossura. Editore: The Pace Gallery, New York, 1991.‎

‎Spoerri Daniel‎

‎Daniel Spoerri‎

‎Testi: Bezzola Tobias. F.to: 20x26; pagg. 24; COL e BN; rileg. brossura. Editore: Galleria Peccolo, Livorno, 1999.‎

‎Pascali Pino‎

‎Pascali. La reconstrucción de la naturaleza. 1967-1968‎

‎Testi: Soldaini Antonella, Rubiu Vittorio et al. F.to: 24x29; pagg. 110; COL e BN; rileg. brossura. Editore: IVAM, Valencia, 1992.‎

‎Lo Savio Francesco‎

‎Francesco Lo Savio‎

‎Testi: Soutif Daniel, Gauthier Michel et al. F.to: 16,5x24; pagg. 208; rileg. brossura. Editore: Documenta Artes y Ciencias Visuales/Museo Reina Sofía, Madrid, 2010.‎

‎Fausto Melotti - cat. #170‎

‎pagg. 12; BN; Editore: Galleria dell' Ariete, Milano, 1971.‎

‎Nauman Bruce‎

‎Bruce Nauman‎

‎"From the beginning I was trying to see if I could make art that did that. Art that was just there all at once. Like getting hit in the face with a baseball bat. Or better yet, like getting hit in the back of the neck. You never see it coming; it just knocks you down. I like that idea very much: the kind of intensity that doesn't give you any trace of whether you're going to like it or not."—Bruce Nauman "Bruce Nauman's art is about heightened awareness, awareness of spaces we usually don't notice (the one under the chair, out of which he made a sculpture) and sounds we don't listen for (the one in the coffin), awareness of emotions we suppress or dread... It's hard to feel indifferent to work like his."—Michael Kimmelman, New York Times One of America's most important artists, Bruce Nauman has worked in a dazzling variety of media since the mid-1960s: sculpture, photography, performance, installation, sound, holography, film, and video. What has been a constant throughout his career, however, is his persistence in exploring both art as an investigation of the self and the power of language to define that self. The latest volume in the acclaimed Art + Performance series is the first book to combine the key critical writings on Nauman with the artist's own writings and interviews with him, as well as images of his work. Bruce Nauman offers a multifaceted portrait of an artist whose determination to experiment with style and form has created a body of work as eclectic and perhaps more influential than that of any other living American artist. — Testi: Halbreich Kathy, Simon Joan et al. pagg. 218; COL e BN; rileg. brossura. Editore: Walker Art Centre, Minneapolis, 1994.‎

‎Icaro Paolo‎

‎Paolo Icaro‎

‎Questa monografia ripercorre l'intera vicenda artistica di Paolo Icaro, dalle prime opere degli anni Sessanta fino ai lavori più recenti. Il saggio critico di Mario Bertoni è integrato da un ampio apparato iconografico, da una raccolta di scritti e interviste di Icaro, da un'antologia critica e da una ricca bio-bibliografia. `La scultura è stata da Icaro intesa nella sua accezione più classica di spazio e volume, ma coniugata nei modi e con gli strumenti più aggiornati e trasgressivi (energia, tensione, virtualità, vettore, espansione, campo, luogo, ambiente).` — F.to: 17x24; pagg. 192; COL e BN; rileg. brossura. Editore: Essegi, Ravenna, 1990.‎

‎Fontana Lucio‎

‎Lucio Fontana Ambienti Spaziali: Architecture, Art, Environments‎

‎This volume accompanies a major and unprecedented survey of the work of Lucio Fontana, which opened at Gagosian Gallery New York in May 2012. Curated by Germano Celant, assisted by Gagosian Gallery director Valentina Castellani in close collaboration with the Fondazione Lucio Fontana in Milan, this exciting and complex exhibition includes many of Fontana’s works that have rarely been seen and reunites important series from public and private collections. Six of his groundbreaking environments, known as Ambienti Spaziali, have been faithfully reconstructed, providing a completely new perspective for the rich and varied retrospective of more than one hundred major works that surrounds them. This fully illustrated catalogue includes an interview with Germano Celant. — Testi: Celant Germano. F.to: 25x29; pagg. 400; rileg. rigida. Editore: Skira Editore, Milano, 2012.‎

‎Antufiev Evgeny‎

‎Evgeny Antufiev‎

‎Realizzato in occasione del progetto espositivo Twelve, wood, dolphin, knife, bowl, mask, crystal, bones and marble - fusion. Exploring materials alla Collezione Maramotti (17 febbraio - 31 luglio 2013), questo libro d’artista viene consegnato nelle mani del visitatore come una mappa della mostra, ma non solo. Scrive Antufiev in prefazione al libro: “Anche quando la mostra sarà chiusa io spero che non perda la sua attualità perché questo libro è un artefatto. È una parte di me, della mia vita. Leggere questo libro non è semplice e mi dispiace per questo: ringrazio tutti quelli che vorranno farlo. Non concentrarsi su un solo testo perché ogni testo è connesso con gli altri e ha un senso in questa relazione. Ho preparato un piccolo schema che può aiutarvi a collegarli. Ho messo poi alcune note nel libro per chiarire meglio parole e concetti a persone che non vivono nel mio paese”. Il volume contiene un ricco regesto iconografico: selezione di opere di Antufiev, fotografie scattate dall’artista, immagini di regesto ai testi. — Testi: Antufiev Evgeny, Zhilyaev Arseniy et al. pagg. 108; COL e BN; rileg. rigida. Editore: A&Mbookstore Edizioni, Milano, 2013.‎

‎Artisti: Melotti Fausto, Clerici Fabrizio, Cara Ugo, Morandi Giorgio, Strada Nino Ernesto, De Pisis Filippo, Casorati Felice, Leonardi Leoncillo , Turcato Giulio, Afro, Basaldella Mirko, Bordoni Enrico, Broggini Luigi, Campigli Massimo, Cascella Pietro,‎

‎Handicraft as a fine art in Italy‎

‎"Carlo Ludovico Ragghianti, CADMA’s chairman, described the exhibition’s aim as ‘to perfect the quality of the Italian handicrafts by means of collaboration between artists and craftsmen’. Ragghianti described this ‘experiment’ as ‘part of a wider plan of action devoted to the revival and development of Italian handicrafts and [...] to the harmonising of Italian handicraft production with foreign and especially American, requirements’. Exhibits included ceramics, furniture, silverware and textiles designed by artists including Renato Guttuso, Fontana, Melotti, Giorgio Morandi and an abstract sculpture by the architect Sottsass. The catalogue, designed by the artist and designer Bruno Munari, reveals the unevenness of this collaboration – or at least its representation. Although no paintings were included in the exhibition, the cut-out corrugated cardboard cover depicts the creative work of the artist rather than artisan: a painter at his easel rather than a potter at his wheel. This is continued inside: the names and profiles for the thirty six artists and one architect are included but no details of the makers themselves are given – these are Sabatino’s anonymous ‘ghosts of the profession’ mentioned in the introduction. "Handicrafts as a Fine Art in Italy" was arguably one of the first exhibitions to present craft as art in post-war America. It precedes the larger MoMA exhibition XX Century Italian Art from 1949, which included terracotta and ceramic works by Arturo Martini and Fontana and which Lisa Hockemeyer has argued ‘demonstrates the curators’ acceptance of ceramic as a sculptural medium’. Both exhibitions in fact predate the widespread acceptance of the use of clay for artistic expression in the American context – as seen in the New York art world’s resistance to the Abstract Expressionist ceramics of Peter Voulkos and his Californian cohorts. It illustrates the difference of the concept of craft and art in the Italian context: for Hockemeyer, these artists’ use of clay was a result of the breakdown of hierarchies between the fine and decorative arts that occurred in the 1930s. It also speaks of the embryonic status of the field of design, in which there was an openness to who the modernisers of Italy’s crafts would be - artists or architects." A cura di Bruno Munari, una introduzione di Carlo Ludovico Ragghianti e le presenze di Afro, Mirko, Enrico Bordoni, Broggini, Campigli, Pietro Cascella, Casorati, Cherchi, Clerici, Consagra, De Pisis, Fabbri, Fontana, Fornasetti, Renato Gregorini, Guerrini, Guttuso, Levi, Paola Levi Montalcini, Marino, Melotti, Giovanni Michelucci, Morandi, Adriana Pincherle, Anita Pittoni, Pizzinato, Emanuele Rambaldi, Santomaso, Sassu, Carlo Sbisà, Maria Signorelli, Ettore Sottsas jr., Enrico Steiner, Nino Ernesto Strada, Turcato, Gianni Vagnetti. La mostra è presentata dalla CADMO, creata a Firenze dall’italo-americano Mar Ascoli, come organizzazione italiana della Fondazione americana "Handicraft Development Inc." con sede nella Casa dell’Artigianato Italiano dovuta all’architetto triestino Gustavo Pulitzer Finali. Stampato a Milano da Piero Bortolotti — Testi: Munari Bruno, Ragghianti Carlo Lodovico. pagg. 80; BN; rileg. cartone corrugato. Editore: Handicraft Development, New York, 1948.‎

‎Andre Carl‎

‎Carl Andre: Sculpture as Place, 1958 - 2010‎

‎<p> Carl Andre (b. 1935) redefined the parameters of abstract sculpture in the 1960s and 1970s. He was a highly influential voice in the American minimalist movement, recognized for his ordered linear and grid formats. In the early 1960s, Andre&#8217;s creative focus shifted to writing poetry when he took a job as a freight brakeman and conductor for the Pennsylvania Railroad. His poems echoed and extended the themes in his sculptural work, and his experience with the railroad significantly influenced his choice of materials in later years.<br><br> In this stunning catalogue, which accompanies the first retrospective of Andre&#8217;s work since 1970, the artist&#8217;s legacy is examined in eleven essays by international scholars. The book presents a broad range of sculpture made over the past fifty years, including Andre&#8217;s emblematic floor and corner pieces, highlighting his radical use of standardized units of industrial material such as timber planks, concrete blocks, and metal plates. A vast selection of Andre&#8217;s previously unpublished concrete poems, together with letters, postcards, ephemera, and documentation of important installations, further complements our understanding of an essential figure in the history of contemporary art.</p><br> — Testi: Raymond Yasmil, Yoshitake Mika et al. pagg. 400; rileg. rigida. Editore: Yale University Press, New Haven, 2014.‎

‎Huyghe Pierre‎

‎Pierre Huyghe‎

‎Presenting fifty projects from French-born, New York&#150;based contemporary artist Pierre Huyghe&#8217;s twenty-year career, this richly illustrated book provides an overview of his work across film, installation art, and live event. Since the 1990s, Huyghe&#8217;s work has challenged the status of the exhibition format. With projects like the <I>One Year Celebration</I> and the foundation in 1995 of the collaborative Association of Freed Time, Huyghe developed a particular interest in the relationship between time and memory&#151;an interest that has carried through to his works, <I>Untilled</I> and the three-part <I>The Host and the Cloud.</I> Most recently, his projects include an untitled piece for the Documenta 13 in Kassel, Germany; Amidst Karlsaue Park&#8217;s compost heap&#151;an area detached from museums and cultural institutions and not intended to be seen&#151;Huyghe installed common park objects from different moments in art history, as well as the Documenta in years past, from one of Joseph Beuys&#8217;s uprooted oaks to Dominique Gonzalez-Foerster&#8217;s pink bench.<BR> &#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;<BR> Published to accompany a major exhibition of Huyghe&#8217;s work opening at the Los Angeles County Museum of Art in November 2014, this book offers the first comprehensive overview of the artist&#8217;s career. The structure of the book brings to light Huyghe&#8217;s creative process, with each step in the creation of featured projects amply illustrated with photographs, drawings, and preparatory sketches. — Testi: Lavigne Emma. pagg. 256; rileg. brossura. Editore: Hirmer Verlag, München, 2014.‎

‎Bury Pol‎

‎Pol Bury‎

‎Testi: Balthazar André. pagg. 104; BN; rileg. brossura. Editore: Sergio Tosi editore, Milano, 1967.‎

‎Perry Grayson‎

‎Grayson Perry‎

‎In this first major monograph on Grayson Perry, now updated and expanded, writer and art historian Jacky Klein explores the artist's work through a discussion of his major themes and subjects. Klein's text is complemented by intimate and insightful commentaries on individual pieces by the artist himself, giving unique access to his imaginative world and creative processes. Over 175 of Perry's works are illustrated, as well as a rich selection of the visual material that has inspired him, from Afghan war rugs, Sumatran batiks and medieval altarpieces to the paintings of Pieter Bruegel and the American Outsider artist Henry Darger. With a fully up-to-date biography, bibliography and exhibition history, this continues to be the definitive book on one of the most popular and important artists of our time. — Testi: Klein Jacky. pagg. 288; 357 COL e 17 BN; rileg. brossura. Editore: Thames & Hudson, London, 2016.‎

‎Marini Marino‎

‎L'oscenita e la legge di riflessione‎

‎Testi: Miller Henry . F.to: 9x12; pagg. 80; BN; rileg. brossura. Editore: Vanni Scheiwiller, Milano, 1962.‎

‎VLOBERG Maurice‎

‎La Vierge et l'Enfant dans l'art français. Tomes I et II. Couverture : Aquarelle de Robert Lanz. Hors-texte : Dessins rehaussés de Charles Jouas, sanguine de Teisseire.‎

‎Deux volumes brochés. 170 + 140 pages.‎

‎MAZERAN HIRIGOYEN Alain‎

‎Sculptures d'océan.‎

‎Reliure de l'éditeur. 32x32cm.‎