All Paths Lead to Rome. Establishing an Italian American Archive of the Visual Arts of the late 1950s and early 1960s
Keywords:
1950s, Rome, post-war art, Trans-Atlantic art scene, archive Trans-Atlantic experience, Milton Gendel, American Art, Italian ArtAbstract
Laura Blandino
University of Turin
Italy
All Paths Lead to Rome.
Establishing an Italian American Archive of the Visual Arts
of the late 1950s and early 1960s
This paper examines the role Rome played in the 1950s as an important outpost for the development of a distinct art scene, where the American and the Italian experience had the opportunity to blend with the artists gathering and sharing innovative ideas. It is a part of an ongoing research and it presents and sums up the early stage of the project which focuses mostly on archival sources and interviews with the central figures of this period. This paper, in particular, follows some of the members of this tran-Atlantic community, focusing in particular on the art galleries that fostered an international dialogue. Above all, this paper addresses the fundamental questions concerning whether this period could be considered as an “archive” of Italian and American art. It aims at demonstrating that, though not altogether free from contradictions and misconceptions, the period under study was very fertile in terms of the results of cross-cultural experience.
References
Camerlingo, Rita “L'obelisco, i suoi protagonisti e le sue attività”, Centro di documentazione Galleria nazionale d'arte moderna e contemporanea, 9 April 2010. Web
Celant, Germano. Roma-New York 1948-1964, Milano: Ed. Charta, 1993. Print
Cooney, Terry. The Rise of the New York Intellectuals. Partisan Review and its Circle, 1934-1945, Madison: University of Wisconsin Press, 1986. Print
Corn, Wanda. The Great American Thing: Modern Art and National Identity, 1915-1935, Los Angeles: University of California Press, 1999. Print.
Drudi, Barbara, Benson-Miller, Peter. Milton Gendel. A Surreal Life. Ostfildern: Hatje Canz,2011. Print.
Personal interview, 4 March 2014
Fischer, John. “Portrait of the Artist as an Angry Man”, Harper Magazine, July 1970. Print.
Gendel, Milton. Personal interview, 4 March 2014
Goldfarb-Maquis, Alice. Art Czar: the Rise and Fall of Clement Greenberg, Aldershot: Lund Humpries, 2006. Print
Grossi, Sonia, Santarelli, Nora. “La Tartaruga: breve storia di una galleria”, in Il mondo degli Archivi on-line, 1-2, Roma: Associazione nazionale Archivistica Italiana, 2008. Web
Guilbaut, Serge. How New York Stole the Idea of Modern Art. Abstract Expressionism, Freedom and the Cold War., Chicago: University of Chicago Press, 1983. Print
O' Brian, John., ed. Clement Greenberg. The collected essays and criticism., 4 vols., Chicago: University of Chicago Press, 1986. Print
Rubenfeld, Florence. Clement Greenberg. A Life, Minneapolis: University of Minnesota Press, 1997. Print
Sleiter, Rossella. “Mark Rothko. Un americano a Roma, vita privata di un turista di genio”, Il Venerdì di Repubblica, 5 October 2007 Print.
Trucchi, Lorenza. Personal interview, 3 March 2014
Volpi, Marisa, Personal interview, 30 July 2013
Downloads
Published
How to Cite
Issue
Section
License
The Copyright Holder of the submitted text is the Author. The Reader is granted the rights to use the material available in the RIAS websites and pdf documents under the provisions of the Creative CommonsAttribution-ShareAlike 4.0 International License (CC BY-SA 4.0). Any commercial use requires separate written agreement with the Author and a proper credit line indicating the source of the original publication in RIAS.
- License
The University of Silesia Press provides immediate open access to journal’s content under the Creative Commons BY 4.0 license (http://creativecommons.org/licenses/by/4.0/). Authors who publish with this journal retain all copyrights and agree to the terms of the above-mentioned CC BY 4.0 license.
- Author’s Warranties
The author warrants that the article is original, written by stated author/s, has not been published before, contains no unlawful statements, does not infringe the rights of others, is subject to copyright that is vested exclusively in the author and free of any third party rights, and that any necessary written permissions to quote from other sources have been obtained by the author/s.
If the article contains illustrative material (drawings, photos, graphs, maps), the author declares that the said works are of his authorship, they do not infringe the rights of the third party (including personal rights, i.a. the authorization to reproduce physical likeness) and the author holds exclusive proprietary copyrights. The author publishes the above works as part of the article under the licence "Creative Commons Attribution - By the same conditions 4.0 International".
ATTENTION! When the legal situation of the illustrative material has not been determined and the necessary consent has not been granted by the proprietary copyrights holders, the submitted material will not be accepted for editorial process. At the same time the author takes full responsibility for providing false data (this also regards covering the costs incurred by the University of Silesia Press and financial claims of the third party).
- User Rights
Under the Creative Commons Attribution license, the users are free to share (copy, distribute and transmit the contribution) and adapt (remix, transform, and build upon the material) the article for any purpose, provided they attribute the contribution in the manner specified by the author or licensor.
- Co-Authorship
If the article was prepared jointly with other authors, the signatory of this form warrants that he/she has been authorized by all co-authors to sign this agreement on their behalf, and agrees to inform his/her co-authors of the terms of this agreement.
I hereby declare that in the event of withdrawal of the text from the publishing process or submitting it to another publisher without agreement from the editorial office, I agree to cover all costs incurred by the University of Silesia in connection with my application.
