BEGIN:VCALENDAR METHOD:PUBLISH VERSION:2.0 CALSCALE:GREGORIAN PRODID:-//NONSGML WPForms//NONSGML Sugar Calendar Feeds v3.11.0//EN X-WR-CALNAME:Untying “The Knot”: The State of Postwar Italian Art Hi story Today X-WR-CALDESC:Italian Art Society X-WR-TIMEZONE:America/Chicago BEGIN:VTIMEZONE TZID:America/Chicago BEGIN:STANDARD TZOFFSETFROM:-0500 TZOFFSETTO:-0600 DTSTART:20141102T070000 TZNAME:CST END:STANDARD END:VTIMEZONE BEGIN:VTIMEZONE TZID:America/Chicago BEGIN:STANDARD TZOFFSETFROM:-0500 TZOFFSETTO:-0600 DTSTART:20141102T070000 TZNAME:CST END:STANDARD END:VTIMEZONE BEGIN:VEVENT SUMMARY:Untying “The Knot”: The State of Postwar Italian Art History Today DESCRIPTION:Conference and study days organized by Sharon Hecker and Mar in R. Sullivan. \n\n\n\nSponsored jointly by The Center for Modern Ital ian Art\, New York (CIMA) and the Italian Art Society (IAS). \n\n\n\n\n \n\n\n2015 marks the thirty-year anniversary of curator Germano Celant s \;The Knot\, the 1985 landmark exhibition held at PS1 in New York \, which introduced contemporary Italian art to American audiences. Yet despite the interest it generated in its time\, only recently have schol ars in the United States begun to consider postwar Italian art as a subj ect for study. Today\, thanks to shows like the Tate Modern/Walker Art C enter’s \;Zero to Infinity: Arte Povera 1962-1972\, scholars on bo th sides of the Atlantic are increasingly turning their attention to stu dy Italian art created after World War II. Italian archives are becoming more accessible\, more primary texts have been translated into English\ , and a growing number of museum and gallery exhibitions\, conferences a nd English publications in both the U.S. and the U.K. are beginning to f ill the lacuna. \n\n\n\nWith the passage of half a century\, European an d American scholars alike are using these venues to historicize and scru tinize the complex dichotomies that defined Italy during the period: fro m its dialogue with artistic and craft traditions of the past within the context of rapid industrialization\, to the so-called “economic mirac le” and the effects of American consumerism\, to the mechanics of Ital y’s desire to establish a particular kind of Italian Modernism that wo uld also become internationally influential. The Italian national contex t that once appeared to Anglo-American scholars as provincial\, homogeno us\, or retrograde is now considered a crucial art historical moment bur sting with distinct artists\, radical groups and tendencies\, including Informale\, Gruppo N\, and Arte Povera\, as well as artworks shaped by c oncurrent historical developments in science\, industry\, politics\, lit erature\, photography\, architecture\, design and film. A scholarly outl ook on art created in Italy during the postwar period has now fully emer ged in the U.K. and U.S.\, but its parameters and impact have yet to be assessed. \;These study days seek to evaluate the current state of t he field and to highlight alternative methodologies for future inquiry. \n\n\n\nScheduled for February 9-10\, 2015\, the days prior to the openi ng of the College Art Association’s 103rd \;Annual Conference in N ew York\, it complemented the IAS-sponsored session\, “Di politica: I ntersections of Italian Art and Politics since World War II\,” chaired by Dr. Christopher Bennett and Dr. Elizabeth Mangini. Through brief pap er presentations\, ample discussion\, and a respondent roundtable\, the goal of the study days is to address and explore the most pressing issue s\, concerns\, and questions driving postwar Italian art history on both sides of the Atlantic today. Are those concerns the same for Italian an d non-Italian scholars of different generations? How do we take into acc ount regional differences and\, at the same time\, questions of a unifie d national Italian identity? How did novel materials and the emergence o f industrial design impact the visual arts in Italy and vice versa? What was new about art made in Italy during this time and what continued or was rephrased\, reshaped and recycled (either critically or uncritically ) from the immediate\, Fascist or more distant past (for example\, Futur ism\, or even further back\, from the nineteenth century\, the Renaissan ce\, the Baroque\, Medieval or Ancient periods)? While the primary focus of the conference is Italy and Italian artists between 1945 and 1975\, we also welcome case studies—with an eye to methodology—that examine cross-cultural exchange\, including the reception of Italian art intern ationally or the presence of foreign artists in Italy\; the impact of in ternational exhibitions such as the Venice Biennale\; or the influence o f the postwar generation on art being produced around the world today. \ n\n\n\nClick here to see the \;program of speakers. URL;VALUE=URI:https://www.italianartsociety.org/events/untying-the-knot- the-state-of-postwar-italian-art-history-today-february-2015/ UID:urn:uuid:073e3482-0554-4ed3-8705-313eab45d594 STATUS:CONFIRMED ORGANIZER: DTSTAMP:20260513T124438Z DTSTART;VALUE=DATE:20150209 DTEND;VALUE=DATE:20150210 LOCATION:CIMA\, New York END:VEVENT END:VCALENDAR