#danilo eccher

Milestone Monday: Roy Lichtenstein

On October 27th, 1923, Roy Lichtenstein was born in New York City. On his birthday, we celebrate the pop artist with images from two titles in our collection. The first, Pop Art One, was released by the Publishing Institute of American Art in New York City in 1965. Dorothy Herzka – who would later marry Lichtenstein, and run his foundation after his death – edited this collection of loose leaf plates by Lichtenstein, Jasper Johns, Claes Oldenburg, James Rosenquist, Tom Wesselmann, and Andy Warhol.

The color images featured are from, Roy Lichtenstein: Drawing First: 50 Years of Works on Paper, edited by Danilo Eccher, and published by Skira in Milan, Italy, 2015. The book features studies, sketches, and drafts showing Lichtenstein’s meticulous process. A 2011 article by Kevin Conley details the precision of his craft:

During World War II he’d served as a draftsman, drawing maps in an engineering battalion, and after leaving Ohio State he again found work as a draftsman, at Republic Steel; those experiences contributed to his pragmatism and mechanical wizardry in the studio…. He made a floor-to-ceiling wall easel that tilted ever so slightly forward, so that any excess paint would drip onto the floor and not down the meticulously clean surface of his canvas. He worked in waves of activity, sketching in notebooks and transferring his drawings onto canvas by means of an overhead projector, refining the original ideas freehand, filling in blank spaces with test patches of colored or patterned paper, taping and applying paint in solid sections or with the aid of various tools of his own devising. He invented a standing easel that allowed him to rotate the canvas 360 degrees, so he could view a work in progress in a new light.

See more Milestone Monday posts!

--Amanda, Special Collections Graduate Intern

Crazy

La follia nell'arte contemporanea

a cura di / edited by Danilo Eccher

Skira, Milano 2022, 248 pagine, 21 x 31cm, brossura, Bilingue Italiano Inglese, ISBN 9788857247991

euro 36,00

email if you want to buy : [email protected]

La follia non ha limiti. 21 artisti di rilievo internazionale e 15 installazioni site-specific inedite raccontano i legami tra follia e arte.

I 21 artisti chiamati a partecipare sono parte di questa follia :Carlos Amorales, Hrafnhildur Arnardóttir / Shoplifter, Massimo Bartolini, Gianni Colombo, Petah Coyne, Ian Davenport, Janet Echelman, Fallen Fruit / David Allen Burns e Austin Young, Lucio Fontana, Anne Hardy, Thomas Hirschhorn, Alfredo Jaar, Alfredo Pirri, Gianni Politi, Tobias Rehberger, Anri Sala, Yinka Shonibare, Sissi, Max Streicher, Pascale Marthine Tayou, Sun Yuan & Peng Yu.

Nella più ampia accezione di “follia”, non di rado sinonimo di “creatività fantastica”, l’arte si è sempre ritrovata a proprio agio ma è soprattutto con i primi studi psicanalitici e neurologici d’inizio secolo scorso che il rapporto fra disturbi psichici e arte si è fatto più intenso e consapevole. La follia, come l’arte, rifiuta gli schemi stabiliti, fugge da ogni rigido inquadramento, si ribella alle costrizioni catalogatorie; la percezione del mondo è il primo segnale di instabilità, il primo contatto fra realtà esterna e cervello, fra verità fisica e creatività poetica, fra leggi ottiche e disturbi neurologici. Nel volume che accompagna l’originale esposizione romana, 21 artisti internazionali sono chiamati a partecipare a questo progetto e sono parte di questa follia, che prende forma attraverso 15 installazioni site-specific inedite in una narrazione complessa, soggettiva, obliqua; così il genio e l’estro creativo si espandono come le coloratissime colate di pigmento sulle scale dell’astrattista inglese Ian Davenport, o modificano la percezione dello spazio, come l’ambiente di Gianni Colombo (1970). Le diverse opere d’arte invadono con una inarrestabile potenza espressiva ogni ambiente accessibile: dai neon del cileno Alfredo Jaar sino all’immersione totalizzante di Fallen Fruit, duo formato dagli statunitensi David Allen Burns e Austin Young.

28/08/23

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Splendori notturni della trascendenza

Rivive il regno delle luci e delle ombre nelle sale del Chiostro del Bramante a Roma che presenta la mostra Dream. Qui fascinazioni e controversie legate al mondo del sogno si reincarnano per essere indagate con l’ausilio dell’esperienza. (more…)

Christian Boltanski – Anime. Di luogo in luogo

Al MAMbo di Bologna, un percorso installativo di uno dei più importanti artisti viventi ci costringe nuovamente a fare i conti con l’orrore della nostra storia, una storia di vittime la cui voce ancora oggi grida e pretende di essere ascoltata e rammemorata.

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Valery Koshlyakov, Non smettiamo di costruire l’utopia

È Valery Koshlyakov l’artista russo cui Ca’ Foscari Esposizioni dedica un’ampia rassegna, curata da Danilo Eccher, a partire dall’11 maggio 2017 e sino al 29 luglio. Per l’artista è un ritorno in Laguna, dove è stato tra i protagonisti della Biennale di Venezia del 2003. Koshlyakov, che vive tra Parigi e Mosca, è presente con le sue opere in molte prestigiose collezioni: in Italia presso il…

October 22, 2014 The exhibition at Galleria Civica d'Arte Moderna e Contemporanea in Turin is the first major presentation of Cecily Brown's work in an Italian museum, assembling approximately fifty paintings and works on paper from distinguished American and European collections. New works from the artist are on view for the first time. Exhibition curator Danilo Eccher discusses the show.  

When did you first encounter the work of Cecily Brown? What resonated for you—or what events occurred—that led you to invite an exhibition of her work at Galleria d’Arte Moderna (GAM), Turin? I met Cecily Brown in the early 2000s with Ealan Wingate, who took me to her first studio in Manhattan. I was immediately surprised by her work and fascinated by her energy, and I decided to show some of her works in a small but precious exhibition at the MACRO in Rome, where I was director at that time. I have always considered that first encounter very important, and I have never stopped following Cecily’s work. Now we have an opportunity to present to the Italian public a major show of her works and to publish a great catalogue. GAM has a rich history that dates back to 1863, a collection of more than 45,000 works, and a commitment to hosting contemporary exhibitions. The mission of the museum includes “weaving a continuous exchange between its own historical works and today’s cultural debate, and setting a close relationship for its exhibition program between contemporary and historical collections.” How does this exhibition further that legacy? GAM was the first museum in Italy to focus on the relationship between historical works and contemporary works. I have always thought of art as a river, a big continuous flow impossible to contain or to restrict within limits. This is why I like to treat even the experimental and contemporary exhibitions as I would treat the more historical ones. I believe that Cecily Brown’s work, by its own nature—with the historical intersections, the references, the culture, and the education that it constantly documents—is an example of this same approach. Are there any dialogues between the works that are shown and the museum’s permanent collection that are of particular interest for you? Are there any connections that you hope the public will make? Real connections stimulate curiosity and the intellect. In our collection, for example, Cy Twombly’s Untitled (Rome, The Wall) from 1962 is displayed in the same room as Mario Merz’s Igloo from 1969, and a Picasso from 1948 stands in front of a work by Jannis Kounellis dated about twenty years later. I had invited Cecily to display one of her works outside of the exhibition space, within the museum’s permanent collection, in front of a Fontana.