Center for Italian Modern Art - Postwar Italian art history today: untying The knot

Giulio Paolini, Giovane che guarda Lorenzo Lotto (Youth Looking at Lorenzo Lotto), 1967. Photo emulsion on canvas, 30 24 cm. FER Collection. Giulio Paolini. Courtesy Fondazione Anna e Giulio Paolini, Turin.

Salvo (Salvatore Mangione), San Martino e il povero (Saint Martin and the Beggar), 1973. Oil on paper mounted on canvas, 285 190 cm. Fondazione per lArte Moderna e Contemporanea CRTon a gratuitous loan to Galleria Civica dArte Moderna e Contemporanea di Torino e il Castello di RivoliMuseo dArte Contemporanea, Turin and Rivoli. Photo: Studio Gonella, 2006.

Gianni Pettena, Laundry, 1969. Como, Campo Urbano. Courtesy Archivio Gianni Pettena. Photo: Ugo Mulas.

Gianni Pettena, Wearable Chairs, 1971. Minneapolis. Courtesy Archivio Gianni Pettana. Photo: Gianni Pettena.

Ugo La Pietra, Interno/Esterno. Un pezzo di stanza nella strada, un pezzo di strada nella stanza, 1979. Milan, Triennale. Courtesy Archivio Ugo La Pietra, Milano.

Gino De Dominicis, Untitled (Testa di donna sumera), 1977. Oil on color photography, 155 95 cm. Private collection. Courtesy of the Archivio Gino De Dominicis.

Gino De Dominicis, (Photo op) Seconda soluzione di immortalit (Luniverso immobile), 1972. Black and white photograph, 51 63 cm. Lia Rumma Collection. Courtesy of the Archivio Gino De Dominicis.

Gino De Dominicis, Il tempo, lo sbaglio, lo spazio, 1969. Human skeleton, roller skates, dog skeleton, leash, scheletro di cane, guinzaglio, rod, 400 220 (variable) 170 cm. Lia Rumma Collection. Courtesy of the Archivio Gino De Dominicis.

Gino De Dominicis, Madonna che ride, 1972. Statue made of colored plaster 200 60 cm. Destroyed work. Courtesy of the Archivio Gino De Dominicis.

Installation view of Loan Exhibition at the Museum of Non-objective Painting. First floor, third room, north and east walls. June 20, 1950. Exhibition records. A0003. Solomon R. Guggenheim Museum Archives, New York.

Paola Pitagora, Renato Mambor, and Cesare Tacchi in front of Roy Lichtenstein, Big Painting VI (1965), at the 1966 Venice Biennale. Courtesy AAFArchivioArte Fondazione Cassa di Risparmio di Modena and Artwork. Estate of Roy Lichtenstein. Photo: CAMERAPHOTO.

Jannis Kounellis, Senza titolo (Untitled), 1960. Mixed media on canvas, 258 323 cm. Courtesy of Michelle Coudray and Sammlung Viehof. Photo: M. Baboussis.

Fabio Mauri, Marilyn, 1964. Photography and mixed media on canvas, 120 80 cm. Courtesy the Estate of Fabio Mauri and Hauser & Wirth. Photo: Elisabetta Catalano.

Franco Vaccari, Le Tracce, Bologna, Sampietro Editore, 1966. Photo: Carlo Favero.

Franco Vaccari, Teleogryllus Commodus, 1967. Photo emulsion on canvas, 100 77 cm. Luigi Bonotto collection. Courtesy of Fondazione Bonotto.

Franco Vaccari, Photomatic dItalia, 19734. Photostrips glued on cardboard, 50 70 cm, detail. Courtesy of Franco Vaccari and P420 Gallery. Photo: Carlo Favero.

Franco Vaccari, Viaggio sul Reno. Settembre 1974. Brescia, Edizioni Nuovi Strumenti, 1976. Photo: Carlo Favero.

Marino Marinis Cavaliere (1948: 314b) seen behind actress Audrey Hepburn on the Larrabee Office set in Wilders Sabrina, 1954. Paramount Pictures.

Installation view of Marino Marinis sculptures in Twentieth Century Italian Art at the Museum of Modern Art, 1949. MoMA, New York.

Herbert List, Rome. Cesare Zavattini, Italian writer, in front of his collection of miniatures by great Italian painters at his home, 1951. Herbert List/Magnum Photos.

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Johnny Bergamini, view of Collezione Verzocchi, Palazzo Romagnoli, Forl (Italy). Palazzo Romagnoli, Forl.178

Giuseppe and Max Guerreschi with the Rudi Dutschke, 1968. Max Guerreschi.197

Giuseppe Guerreschi, Giovane profeta, 1969. Oil on canvas, 150 110 cm. Max Guerreschi.

Giuseppe Guerreschi, Ritratto di Danilo Montaldi, 1972. Etching, 40 47 cm. Max Guerreschi.

I Guerriglieri della Biennale, Il Secolo dItalia, Rome, October 22, 1974. Il Secolo dItalia.

Immagini e parole dal Cile, 1974, Venice, installation photograph. La Biennale di Venezia, ASAC, Fototeca, serie Attualit e AllestimentiLibert al Cile, 1974. Photo: Lorenzo Cappellini.

Mauro Staccioli, Scultura-Intervento, Piazza Galleria Manzoni, Milan, December 1974 to January 1975, installation photograph. Image courtesy of the artist.

Marisa Merz, Untitled, 2010. Mixed media on paper, 300 250 cm. Collection of the artist, with Medardo Rosso, Jewish Boy, 18924, wax cast with plaster interior, dimensions not given, collection of Fondazione Querini Stampalia, Venice. Installation for exhibition, Marisa Merz, Non corrisponde eppur fiorisce (Marisa Merz, It Does Not Correspond and Yet it Blossoms) at Fondazione Querini Stampalia onlus, Venice, 2011. Photo by Agostino Osio.

Installation view of the exhibition: Gilberto Zorio at Gian Enzo Sperone Gallery, 13 Via Cesare Battisti, Torino, November, 1967. Image provided by the artist. Photo: Paolo Bressano.

Gilberto Zorio, Piombi II (Leads II), 1968. Sheets of lead, copper sulfate, hydrochloric acid, braided copper wire, rope, dimensions variable. Collection of the artist. Gilberto Zorio, courtesy of the artist. Photo: Philippe Degobert, Courtesy Galerie Albert Baronian.

Gilberto Zorio, Stella bruciata (Burned Star), 1977. Star cut by the artist into a brick wall with an oxy-hydrogen flame. Dimensions variable. Gilberto Zorio, courtesy of the artist. Photo: Philippe Degobert, Courtesy Galerie Albert Baronian.

Luciano Fabro, Attaccapanni (Turin: Einaudi, 1978), 1819. Courtesy Luciano and Carla Fabro Archive, Milan.

Luciano Fabro, Tondo e rettangolo (Circle and Rectangle, 1964). Nuove ricerche visive in Italia (Milan: Galleria Milano, 1966). Courtesy Galleria Milano and Luciano and Carla Fabro Archive, Milan.

Luciano Fabro, Tutto trasparente (All Transparent, 1965). Courtesy Luciano and Carla Fabro Archive, Milan.

Germano Celant, Arte Povera (Milan: Mazzotta, 1969): cover.

Germano Celant, Art Povera (New York: Praeger, 1969): cover.

Filippo Tommaso Marinetti, Il Futurismo Mondiale (International Futurism), 1924 as published in Fortunato Depero, Depero Futurista (Milan: Dinamo Azari, 1927), np.

Raffaele Bedarida is Assistant Professor of Art History at Cooper Union, New York. He holds a PhD from the Art History Department of the CUNY Graduate Center, New York, as well as MA and BA degrees in Art History from the Universit degli Studi di Siena, Italy. He is an art historian and curator specializing in art, politics, and cultural diplomacy between Europe and America. His publications have focused on Italian Modernism from Futurism to Arte Povera in the international context. In addition to his academic and curatorial activities, Bedarida lectures on modern and contemporary art topics at the Solomon R. Guggenheim Museum and MoMA.

Christopher Bennett is Assistant Professor of Art History at University of Louisiana at Lafayette. His studies principally focus on European, American, and Global Art since 1945 including the artists associated with the Italian Arte Povera group and postwar Italy. He has published writings in October, Artforum, and