Organizers: Marica Antonucci, Ph.D candidate in the History of Art, Johns Hopkins University
Maria Bremer, Minerva Fast Track Fellow at the Bibliotheca Hertziana – Max Planck Institute for Art History, Rome
Giorgia Gastaldon, Bibliotheca Hertziana – Max Planck Institute for Art History, Rome

Chair: Maria Bremer, Minerva Fast Track Fellow at the Bibliotheca Hertziana – Max Planck Institute for Art History, Rome

This panel seeks to understand how modern Italy’s cultural production addressed notions of collectivity and individuality during an epoch that witnessed efforts of national cohesion (Risorgimento, Fascism, Resistance) and increasing social isolation and fracture (1968, the Years of Lead, the rise of globalization). Alongside the emergence of various artistic groups (historical avant-garde, neo-avantgarde and other postwar collectives), individual practitioners addressed the subjective impact of these socio-historical developments. Employing a capacious perspective, we ask how artists, critics, photographers, curators, and filmmakers have parsed the mutable, historically contingent relations between the singular and the potential collective subject throughout this period.

 Nicole Coffineau, University of Pittsburgh, “Viewing and Collecting Ruins: the role of photography in othering archaeology, Italy    1858-62.”

Sophia Maxine Farmer, Getty Research Institute, “Futurist. Fascist. Female.”

Katie Larson, Baylor University, “Alberto Burri and the Generation of Arti Visive.”

Marica Antonucci, Johns Hopkins University/ Bibliotheca Hertziana, “Between Individual and Collective: Italy at the Venice Biennale of 1976.”

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