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Seeing Through Closed Eyelids : Giuseppe Penone and the Nature of Sculpture / Elizabeth Mangini.

By: Material type: TextTextSeries: Toronto Italian StudiesPublisher: Toronto : University of Toronto Press, [2021]Copyright date: 2021Description: 1 online resource (238 p.) : 41 colour illustrations, 46 b&w illustrationsContent type:
Media type:
Carrier type:
ISBN:
  • 9781487500580
  • 9781487511340
Subject(s): DDC classification:
  • 709.2 23
LOC classification:
  • N6923.P38 M36 2021
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Contents -- Illustrations -- Acknowledgments -- Introduction: His Being in the Twenty-Second Year of Life at a Fantastic Hour -- 1 Presentness and Trace -- 2 An Artist Turned Inside Out -- 3 Radical Reciprocity: Passive Sculptor / Active Material -- 4 Tempus Arborus (Tree Time) -- Conclusion An Ontology of Sculpture – Form, Process, and Palimpsest -- Notes -- Bibliography -- Index
Summary: Can a work of art help us know our world differently? In this first scholarly study of Giuseppe Penone, art historian Elizabeth Mangini argues that the Italian artist’s engagement of the body’s multiple senses constitutes a new theory of sculpture as a means to connect with and know the phenomenal world. Through close readings of signal works across Penone’s five-decade career – from his emergence in the context of 1960s Arte povera to his position as a pre-eminent contemporary artist today – Mangini demonstrates how Penone refuses modernist opticality, recasts artistic labour, and emphasizes a non-anthropocentric concept of time. Penone’s approach challenges viewers to broaden their sensory and temporal perceptions, creating structurally significant new ways to understand human experience. Giuseppe Penone is best known for his engagement with trees, which he employs as raw material, imagery, and an active force in the creative process. Seeing Through Closed Eyelids suggests that such works materialize the perceptible tensions between any organism and its environment. By locating Penone’s art in its social context and connecting it to broader discourses about art’s status, theories of phenomenology, and the anthropocene, this book offers an original reading of Penone’s work, as well as a wider view of the artistic generation for whom sculpture was a means to probe the nature of experience itself at the dawn of postmodernism.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781487511340

Contents -- Illustrations -- Acknowledgments -- Introduction: His Being in the Twenty-Second Year of Life at a Fantastic Hour -- 1 Presentness and Trace -- 2 An Artist Turned Inside Out -- 3 Radical Reciprocity: Passive Sculptor / Active Material -- 4 Tempus Arborus (Tree Time) -- Conclusion An Ontology of Sculpture – Form, Process, and Palimpsest -- Notes -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Can a work of art help us know our world differently? In this first scholarly study of Giuseppe Penone, art historian Elizabeth Mangini argues that the Italian artist’s engagement of the body’s multiple senses constitutes a new theory of sculpture as a means to connect with and know the phenomenal world. Through close readings of signal works across Penone’s five-decade career – from his emergence in the context of 1960s Arte povera to his position as a pre-eminent contemporary artist today – Mangini demonstrates how Penone refuses modernist opticality, recasts artistic labour, and emphasizes a non-anthropocentric concept of time. Penone’s approach challenges viewers to broaden their sensory and temporal perceptions, creating structurally significant new ways to understand human experience. Giuseppe Penone is best known for his engagement with trees, which he employs as raw material, imagery, and an active force in the creative process. Seeing Through Closed Eyelids suggests that such works materialize the perceptible tensions between any organism and its environment. By locating Penone’s art in its social context and connecting it to broader discourses about art’s status, theories of phenomenology, and the anthropocene, this book offers an original reading of Penone’s work, as well as a wider view of the artistic generation for whom sculpture was a means to probe the nature of experience itself at the dawn of postmodernism.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 19. Oct 2024)

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