Lucio Fontana (1899-1968) is widely regarded as one of the most influential and innovative post-World War II Italian artists. This title presents a technical study in English of this important painter and an informative overview of Fontana's life and work.

In the years after World War II, artists in Argentina and Brazil experimented with geo-metric abstraction and engaged in lively debates about the role of the artwork in society. Some of these artists used novel synthetic materials, creating objects that offered an alternative to established traditions in painting—proposing that these objects become part of everyday, concrete reality. Combining art historical and scientific analysis, experts from the Getty Conservation Institute and Getty Research Institute are collaborating with the Colección Patricia Phelps de Cisneros, a world-renowned collection of Latin American art, to research the formal strategies and material decisions of these artists working in the concrete and neo-concrete vein. Making Art Concrete presents works by Lygia Clark, Willys de Castro, Judith Lauand, Raúl Lozza, Hélio Oiticica, and Rhod Rothfuss, among others, with spectacu-lar new photography. The photographs, along with information about the now-invisible processes that determine the appearance of these works, are key to interpreting the artists’ technical choices as well as the objects themselves. Indeed, this volume sheds further light on the social, political, and cultural underpinnings of the artists’ propositions, making a compelling addition to the field of postwar Latin American art.

Lucio Fontana (1899–1968), a major figure of postwar European art, blurred numerous boundaries in his life and his work. Moving beyond the slashed canvases for which he is renowned, this book takes a fresh look at Fontana’s innovations in painting, drawing, ceramics, sculpture, and installation art. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana} Fontana was an important figure in both Italy and his native Argentina, where he pushed the painterly into the sculptural and redefined the relationship between mediums. Archival images of environments, public commissions, installations, and now-destroyed pieces accompany lavish illustrations of his work from 1930 to the late 1960s, providing a new approach to an artist who helped define the political, cultural, and technological thresholds of the mid-twentieth century.

And then again is a group of recent abstract paintings by Sturgis from two concurrent series loosely titled the stacked paintings and the boulder paintings. The stacked paintings are marked by planes of very flat colour and chequered pattern, the planes are often misaligned, vying against each other to be in front. In contrast to this void space of jostling planes the boulder paintings are full of flat geometric shapes arranged in such a way that could have been of their own making, a kind of shake down of natural order. The weight of balance in the boulder shapes yield a tension of suggested movement. Both series are populated with small dots of colour. The dots lend a shared space and scale to the works and have a strong anthropomorphic quality that imbue them with a humour and further sense of movement, a slight tilt and they could simply roll away. Shapes become sentient agents. It is at this meeting place of divergent references from art, contemporary culture, abstraction and design that Sturgis finds new and exciting forms of abstraction. A publication accompanies the exhibition with contributions from Daniel Sturgis and Pia Gottschaller.

Despite occupying a significant portion of Nevelson?s creative output, her collages still today remain largely unexplored, with only a few publications and essays dedicated to their particular study and analysis in some remove from the sculptures. The fact that this body of work was exhibited only on rare occasions during her lifetime, and always alongside sculpture, is undoubtedly a delaying factor in the emergence of a more established scholarship on the subject. All the same, Nevelson was often quoted commenting that ?the way I think is collage,? and already by 1960, Jean Arp declared in one of his poems that ?Louise Nevelson has a grandfather, probably without knowing it: Kurt Schwitters,? thereby positioning her work within the lineage of avant-garde collage in modern art.??Yuval Etgar00Exhibition: Gió Marconi Gallery, Milan, Italy (24.03.?29.07.2022).