The semester is over. I am sitting in the library 24/7 writing papers. Listening to Tosca on repeat.
I am working diligently on this Thesis Foundation Portfolio. I hope I didn't misplace anything =/
My plans for the winter break are to order some books online from my "to read" list on this portfolio and get through a chunk of pages there.
Wednesday, December 8, 2010
Sunday, December 5, 2010
Dear Research Diary,
Yesterday I went to MACRO to see the portion of the archive of Fabio Sargentini and the library. The archive was amazing. It had letter correspondences between Sargentini and numerous artists, both Poveristi and huge international names, also between him and Szeeman for When Attitude Becomes Form. There were so many pictures of gallery events and of people together, I think it will be incredibly useful for mapping out what sort of interactions were happening between the artists in this period of time.
The question it raised for me was what was happening before 67? Before Kounellis or Pascali were considered Arte Povera. I want to see what they were trying to do, or trying to achieve and how they became a part of the movement.
I also visited the library and seems a little bit strict. They don't have a catalogue that is accessible and you need to make an appointment with them for date and time. Then you go with the subject and they can help you. I don't really like that system but it may be useful.
I also found a great book in the bookshop about L'Attico from 66 to 78. I couldn't resist buying it, plus if I hadn't and couldn't find it again it would have been horrible.
Yesterday I went to MACRO to see the portion of the archive of Fabio Sargentini and the library. The archive was amazing. It had letter correspondences between Sargentini and numerous artists, both Poveristi and huge international names, also between him and Szeeman for When Attitude Becomes Form. There were so many pictures of gallery events and of people together, I think it will be incredibly useful for mapping out what sort of interactions were happening between the artists in this period of time.
The question it raised for me was what was happening before 67? Before Kounellis or Pascali were considered Arte Povera. I want to see what they were trying to do, or trying to achieve and how they became a part of the movement.
I also visited the library and seems a little bit strict. They don't have a catalogue that is accessible and you need to make an appointment with them for date and time. Then you go with the subject and they can help you. I don't really like that system but it may be useful.
I also found a great book in the bookshop about L'Attico from 66 to 78. I couldn't resist buying it, plus if I hadn't and couldn't find it again it would have been horrible.
Thursday, December 2, 2010
Dear Research Diary,
I had a revelatory moment last night. As I was speaking with my roommate about my Italian Cinema class I thought of the perfect title for my thesis. Of course this is liable to change since Bolker says it's one of the last steps of the process, but this might be good to put on the form that we need to submit soon to the registrar.
Roma Citta Povera: the Roman Poveristi
Bingo!
After having written a bit about theory and analyzing Celant's writings, I think it would be interesting to see the effect on the movement after it was completely out of Celant's control. In fact the point is that there is no control, so it should theoretically work perfectly, but doesn't this inherently put it in the stage of dissolution?
From Rome I think the individuality of the artists is much more apparent from the start to the end. Kounellis, Pascali, and Boetti are extremely different. Plus Bonito Oliva only started working with them later so there is also the effect of the institution, and you have Sargentini and L'Attico.
Hopefully tomorrow the bus wont take forever to get to the GNAM for the library visit.
Also, I am having a problem with the library visit because Professor Gianni informed me that currently most of the Attico Archive is in an exhibition at MACRO so I may just go to the MACRO library, or just a comfortable library around here like the Biblioteca dell Senato just to know another convenient place to go for silence and concentration, those are always good to know about.
I had a revelatory moment last night. As I was speaking with my roommate about my Italian Cinema class I thought of the perfect title for my thesis. Of course this is liable to change since Bolker says it's one of the last steps of the process, but this might be good to put on the form that we need to submit soon to the registrar.
Roma Citta Povera: the Roman Poveristi
Bingo!
After having written a bit about theory and analyzing Celant's writings, I think it would be interesting to see the effect on the movement after it was completely out of Celant's control. In fact the point is that there is no control, so it should theoretically work perfectly, but doesn't this inherently put it in the stage of dissolution?
From Rome I think the individuality of the artists is much more apparent from the start to the end. Kounellis, Pascali, and Boetti are extremely different. Plus Bonito Oliva only started working with them later so there is also the effect of the institution, and you have Sargentini and L'Attico.
Hopefully tomorrow the bus wont take forever to get to the GNAM for the library visit.
Also, I am having a problem with the library visit because Professor Gianni informed me that currently most of the Attico Archive is in an exhibition at MACRO so I may just go to the MACRO library, or just a comfortable library around here like the Biblioteca dell Senato just to know another convenient place to go for silence and concentration, those are always good to know about.
Wednesday, December 1, 2010
Dear Research Diary,
I am very pleased because I made a huge mistake and scheduled a meeting with Professor Gianni on December 3rd, the same day as the GNAM library visit. Lukcily it's scheduled at an early hour and I will be able to make both appointments. I might have already mentioned that I am having a problem meeting regularly with my advidsor because we are both very busy, so that was really the only reason why I was worried, we have been putting this meeting off for a while now.
This morning I looked at the works of Alighiero Boetti an found that he is more interested in the relationship between the natural and the artificial. This can be found in almost all of his works including Il che prendo il sole a Torino il 19 gennaio 1969 in which his body is made of hand-sized balls of fast-drying cement molded to the shape of the interior of his hand. It is contrasted with the soft and bright colored butterfly resting on his nose.
His most known piece is his series of Mappa which is a map of the world with the national flag cut to the shape of each country.
I am very pleased because I made a huge mistake and scheduled a meeting with Professor Gianni on December 3rd, the same day as the GNAM library visit. Lukcily it's scheduled at an early hour and I will be able to make both appointments. I might have already mentioned that I am having a problem meeting regularly with my advidsor because we are both very busy, so that was really the only reason why I was worried, we have been putting this meeting off for a while now.
This morning I looked at the works of Alighiero Boetti an found that he is more interested in the relationship between the natural and the artificial. This can be found in almost all of his works including Il che prendo il sole a Torino il 19 gennaio 1969 in which his body is made of hand-sized balls of fast-drying cement molded to the shape of the interior of his hand. It is contrasted with the soft and bright colored butterfly resting on his nose.
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| Mappa |
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| Il che prendo il sole a Torino il 19 gennaio 1969 |
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