Sublime (Italian Edition)

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Italian assurdo assurda irrisorie buffonesca buffonesco. More by bab. English gnosticism gnu go go about your business! He was a pioneer of things we take for granted: installation and new technologies. By Holland Cotter.

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The art of the Argentine-Italian modernist Lucio Fontana looks like it comes from another planet, and it might as well, given how seldom we see it in New York. Things we take for granted — installation, new media and the poly-disciplinary impulse that defines so many 21st-century careers — Fontana pioneered in the s.

Part of the reception problem lies precisely in his breadth. When an artist toggles between figurative sculpture and television art, where do you land? Some of it is just weird as hell.

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Painting surfaces are punched or slashed through, or ooze as if with eruptive disease. Some of his ceramic sculptures suggest fecal deposits; others, pods swollen with alien life. His colors can be crazy: screaming pink, bruisy blue. Pictures in one series are all starchy white; those in another glint with chunks of colored glass, embedded like jewels on reliquaries.

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Fontana started out professionally as a maker of commemorative and devotional art. He was born in Rosario, Argentina.

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His parents were Italian immigrants, his father a sculptor who specialized in funerary monuments for a largely Roman Catholic clientele. Fontana spent much of his early life with relatives in Italy, where he studied art in Milan, got caught up in the militant aesthetics of Futurism and fought in World War I. In , his father called him back to Argentina to join the family firm, by which time Fontana had begun to make art of his own. He kept dual professional tracks active — commercial religious sculpture and avant-garde modernism — for years.

Hungry for commissions, he took jobs producing sculpture for the fascist government. And a lot of his early work supports his statement.


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Among the earliest pieces in the show are two female heads modeled in terra cotta, one with a post-flapper bob. At this point, Fontana was also tackling abstraction. Is it a painting or a sculpture?

Based on marine forms — shells, starfish, squids — these pieces, with their oozy, light-reflective glazes, look to be squeezed from ocean-bed muck and tinted with primal slime. Then in , at the very beginning of the war, Fontana headed to Argentina, apparently under paternal pressure. The stay was meant to be brief but lasted seven years.

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It was a fruitful interlude. It brought Fontana into contact with radical new art being produced in his homeland. He found artists who shared and encouraged his experimental, increasingly utopian thinking about a new kind of art that incorporated science and technology and took physical components of real life — space, movement, light — as primary material.

During these years, he taught at the School of Fine Arts in Buenos Aires, passing his ideas on to students of a brilliant younger generation. Fontana returned to Italy permanently in