Mimmo Rotella
From The Art and Popular Culture Encyclopedia
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Mimmo Rotella: Selected Works[1] edited by Germano Celant
Product Description
The art of Mimmo Rotella seems to be marked by a constant play of chance and intuition–”the mythical mental radar” to which the artist often alludes in his writings–and can be characterized by his attraction to the unusual, the unexplored and the unforeseen. Germano Celant traces Rotella’s work, in all of its diversified phases and periods from 1946 to the present, including the initial geometrical and pre-décollages works, the decollages and the verso of torn street posters, the artypo and emulsified canvases, the blanks, and the overpaintings. Rotella has been the subject of numerous retrospectives throughout Europe and the United States, including Grand Central Station, New York in 1994; Cuartel del Conde Duque, Madrid also in 1994; Galerie Ernst Hilger, Wien in 1999; and Palazzo della Triennale, Milan in 2004. In 1964, Rotella represented Italy in the Venice Biennale. About the Author
Germano Celant is an art historian and Senior Curator for contemporary art at the Solomon R. Guggenheim Museum of New York. He is contributing editor to ArtForum and Interview. He is internationally acclaimed for his work on “Arte Povera.” His recent publications include Architecture & Arts 1900/2004 (Skira 2005) and Manzoni Catalogo delle Opere (Skira 2004).
Buzzati 1969: il laboratorio di "Poema a fumetti": Volume 2000
Poema a fumetti è un libro singolare, edito da Mondadori nel 1969, che all’epoca suscita in molti, e per motivi diversi, sorpresa e sconcerto, ma che sempre più rivela risvolti intriganti. Perché si avvale di molti di quegli ingredienti che oggi definiremmo caratteristici del post-modern: la contaminazione dei generi e la disinvolta irriverenza verso la tradizione (la tecnica del fumetto applicata a un grande mito epico-lirico), l’uso generoso del nudo, i richiami alla pop art e insieme l’ardita riscrittura di opere e motivi di altri artisti e il gioco delle autocitazioni. Contemporaneamente Poema a fumetti è una straordinaria “summa” del mondo di Buzzati, dei temi che attraversano tutta la sua opera, dei suoi sogni, delle sue angosce e ossessioni, delle sue domande sulla vita, la morte, l’amore, il sesso.
"Manuel des confesseurs" et Krafft-Ebing en bandes dessinées
by J.-M. Lo Duca
Sholem Stein is a personal friend of Gershon Legman and Lo Duca.
Lacan and the matter of origins - Page 250
Shuli Barzilai - 1999 - 300 pages - Preview
Gerard Zwang, a physician and sexologist, published the first of these books, Le sexe de la femme (1967); Giuseppe Maria Lo Duca, an expert in eroticism and pornography, the second, Histoire de l'erotisme (1969). ..
For adult users only: the dilemma of violent pornography - Page 17
Susan Gubar, Joan Hoff - 1989 - 248 pages - Preview
Gillette (1965), and Lo Duca (1966). were written before the methodological and theoretical advances associated with the new social ... As a result, there is no truly synthetic, interpretative history of pornography or eroticism. ..
Fire and roses: postmodernity and the thought of the body - Page 74
Carl A. Raschke - 1996 - 190 pages - Preview As the historian Lo Duca has written: "In ancient eroticism there is a constant reference to religious myths, to a secret liturgy which allowed it to be represented as the very Mystery of Mysteries opening on the universe, ..
"D'aucuns songent depuis toujours" --hde
- 1830s 1840 - 1839 - 1838 - 1837 - 1836 - 1835 - 1834 - 1833 - 1832 - 1831
- 1820s1830 - 1829 - 1828 - 1827 - 1826 - 1825 - 1824 - 1823 - 1822 - 1821
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The Goya drawing is number [328] on page 499 of "The Drawings of Goya, The Sketches, Studies and Individual Drawings" by Pierre Gassier.
It is in the Prado.( GW656)
It is in sanguine wash, with a few traces of red chalk. The title, "La Confianza", is written on the drawing in red chalk, just under the seated figure. ( the bottom of the drawing is cut off in your photo, you can only see the loop on the top of the "L" of "La")
It is thought to possibly be a drawing for the Caprichos series, but never etched. Because the size, type of paper and watermark match other studies for the series. There is no mention of four other versions....
The only drawing slightly related to it, is a chalk drawing in the Bordeaux Album G, number 8, of a man in dark cloak and hat holding out two keys to a woman who clasps her hands together, she has a padlock on her tunic, (in front of her sex, as a visual pun). Title "Ni por esas (Que tirania)" - Nothing doing (what tyranny) page 511" Francisco Goya Drawings , The Complete Albums", Pierre Gassier. Prado, GW1717.
