This article ("Annali della Facoltà di Lettere e Filosofia, anno LIV-LV, Bari 2014), a part ... more This article ("Annali della Facoltà di Lettere e Filosofia, anno LIV-LV, Bari 2014), a part of a broader research work about the reuse of the painting styles of the past in Contemporary Art, focuses on the dynamics of the recovery, in the nineteen sixties, of Italian artistic traditions by the exponents of the so-called “Scuola di Piazza del Popolo”, a group that emerged in Rome at the beginning of the decade. Through the analysis of the stylistic and formal choices made by these painters and sculptors, and of the techniques they employed, it has been possible to identify a particular form of recovery that can be defined with the term “reportagista” since, in most cases, it involved the photographic transfer onto canvas of details of great Italian masterpieces. This peculiar artistic tendency, which emerges clearly in the works of Mario Schifano, Cesare Tacchi, Giosetta Fioroni, Mario Ceroli and, above all, Tano Festa, is the most original aspect of what has been conventionally considered “the Italian version of Pop Art”.
The article examines one of the forms of recovery and revival of classicism in contemporary art, ... more The article examines one of the forms of recovery and revival of classicism in contemporary art, the direct quotation of classical statuary in paintings, sculptures and installations, from Giorgio de Chirico up to contemporary artists, from Michelangelo Pistoletto to Giulio Paolini, from Jannis Kounellis to Claudio Parmiggiani.
This article ("Annali della Facoltà di Lettere e Filosofia, anno LIV-LV, Bari 2014), a part ... more This article ("Annali della Facoltà di Lettere e Filosofia, anno LIV-LV, Bari 2014), a part of a broader research work about the reuse of the painting styles of the past in Contemporary Art, focuses on the dynamics of the recovery, in the nineteen sixties, of Italian artistic traditions by the exponents of the so-called “Scuola di Piazza del Popolo”, a group that emerged in Rome at the beginning of the decade. Through the analysis of the stylistic and formal choices made by these painters and sculptors, and of the techniques they employed, it has been possible to identify a particular form of recovery that can be defined with the term “reportagista” since, in most cases, it involved the photographic transfer onto canvas of details of great Italian masterpieces. This peculiar artistic tendency, which emerges clearly in the works of Mario Schifano, Cesare Tacchi, Giosetta Fioroni, Mario Ceroli and, above all, Tano Festa, is the most original aspect of what has been conventionally considered “the Italian version of Pop Art”.
This article ("La parola nell’arte concettuale di Salvo", in “Senzacornice”, n. 14, novembre 2015... more This article ("La parola nell’arte concettuale di Salvo", in “Senzacornice”, n. 14, novembre 2015-febbraio 2016, www.senzacornice.org/rivista/index.php, ISSN 2281-3330) deals with a particular artistic use of the word made by one of the most singular exponents of the Italian avant-garde, Salvo, who inserts into his works (tombstones or paintings) names and phrases, between conceptual art and citationism.
The contribution ("La citazione materica in Jannis Kounellis", in “Senzacornice”, n. 13, giugno-s... more The contribution ("La citazione materica in Jannis Kounellis", in “Senzacornice”, n. 13, giugno-settembre 2015, http://www.senzacornice.org/rivista/articolo.php?id=94, ISSN 2281-3330) focuses on a particular aspect of Jannis Kounellis's production, linked to the Greek artist's attitude of contaminating references to Western art and culture to technical and material approaches inspired by a clear "poor" matrix, which are rooted in many of his most famous "untitled" works.
The article ("Un trionfo barocco di cibo e morte. Le Ultime Cene di Mat Collishaw", in “ArtSOB Ma... more The article ("Un trionfo barocco di cibo e morte. Le Ultime Cene di Mat Collishaw", in “ArtSOB Magazine”, Anno I, n. 4, maggio-luglio 2015, ISSN 2384-8863) examines a specific Mat Collishaw production linked to the famous photographic works of the "Last Meal" series. Between quotations from the past - from Caravaggio to the eighteenth-century "vanitas" - and cynical realism, the protagonist of the Young British Artists group represents the last meal of death-stricken historians, by Adolf Eichmann to condemned in Texan prisons.
The contribution ("Lino Sivilli. Classico-Agreste", Modugno BA 2013) has as its theme the artisti... more The contribution ("Lino Sivilli. Classico-Agreste", Modugno BA 2013) has as its theme the artistic career of Lino Sivilli, avant-garde painter and sculptor from Apulia. The essay describes the art of Sivilli, from the beginnings to the present day, an art related in particular to two lines of investigation, on the one hand the history of rural civilization, with its rituals and folklore, on the other the ancient and classic artistic tradition, with its icons and its models. These strands come together in original creations that show a definite style and a particular choice of the techniques and formal approaches.
The article ("ArtSOB Magazine", Anno I, n. 3, febbraio-aprile 2015) examines a specific part, per... more The article ("ArtSOB Magazine", Anno I, n. 3, febbraio-aprile 2015) examines a specific part, perhaps the most important, of the photographic production of Mimmo Jodice, linked to the description of the remains of the classical civilizations of the Mediterranean. With a particular attention to what's around him, the photographer captures the charm of the ruins, while bringing out the specifics of landscapes and old buildings, in a sort of exaltation of the "genius loci" inherent in them.
The paper ("ArtSOB Magazine", Anno I, n. 2, ottobre 2014 - gennaio 2015) analyzes the career of F... more The paper ("ArtSOB Magazine", Anno I, n. 2, ottobre 2014 - gennaio 2015) analyzes the career of Fazal Sheikh, American photographer constantly engaged in social work. Through his personal artistic journey, he met with a lot of reality of hardship, poverty and migration, working in different situations related to the war, especially in Africa and Asia. The lives of refugees, their problems and their hard existence, are represented by the photographer in black and white portraits, full of strong emotional tension; at the same time, they become the ideal tool to make known the sad reality of certain situations.
The article ("ArtSOB Magazine", Anno I, n. 1, maggio-settembre 2014) examines some types of "soci... more The article ("ArtSOB Magazine", Anno I, n. 1, maggio-settembre 2014) examines some types of "social" photography, describing in particular two different approaches to telling a story. The first, through the representation of the human absence, often in environments and landscapes affected by the violence of the war; the second approach coincides, instead, with the practice of the photographic portrait, which focuses particularly on people and stories of hardship and difficulty.
This article ("Annali della Facoltà di Lettere e Filosofia, anno LIV-LV, Bari 2014), a part of a ... more This article ("Annali della Facoltà di Lettere e Filosofia, anno LIV-LV, Bari 2014), a part of a broader research work about the reuse of the painting styles of the past in Contemporary Art, focuses on the dynamics of the recovery, in the nineteen sixties, of Italian artistic traditions by the exponents of the so-called “Scuola di Piazza del Popolo”, a group that emerged in Rome at the beginning of the decade. Through the analysis of the stylistic and formal choices made by these painters and sculptors, and of the techniques they employed, it has been possible to identify a particular form of recovery that can be defined with the term “reportagista” since, in most cases, it involved the photographic transfer onto canvas of details of great Italian masterpieces. This peculiar artistic tendency, which emerges clearly in the works of Mario Schifano, Cesare Tacchi, Giosetta Fioroni, Mario Ceroli and, above all, Tano Festa, is the most original aspect of what has been conventionally considered “the Italian version of Pop Art”.
The article (Annali della Facoltà di Lettere e Filosofia, anno LI, Bari 2010) examines the career... more The article (Annali della Facoltà di Lettere e Filosofia, anno LI, Bari 2010) examines the career of Ardengo Soffici, one of the most interesting italian artist in the first half of twentieth century. This contribution analyzes the artistic history of Soffici, from the training in Florence until his adhesion to the "Ritorno all'Ordine", through fundamental experiences in Paris and in the cubist and futurist avant-garde.
This article ("Annali della Facoltà di Lettere e Filosofia, anno LIV-LV, Bari 2014), a part ... more This article ("Annali della Facoltà di Lettere e Filosofia, anno LIV-LV, Bari 2014), a part of a broader research work about the reuse of the painting styles of the past in Contemporary Art, focuses on the dynamics of the recovery, in the nineteen sixties, of Italian artistic traditions by the exponents of the so-called “Scuola di Piazza del Popolo”, a group that emerged in Rome at the beginning of the decade. Through the analysis of the stylistic and formal choices made by these painters and sculptors, and of the techniques they employed, it has been possible to identify a particular form of recovery that can be defined with the term “reportagista” since, in most cases, it involved the photographic transfer onto canvas of details of great Italian masterpieces. This peculiar artistic tendency, which emerges clearly in the works of Mario Schifano, Cesare Tacchi, Giosetta Fioroni, Mario Ceroli and, above all, Tano Festa, is the most original aspect of what has been conventionally considered “the Italian version of Pop Art”.
The article examines one of the forms of recovery and revival of classicism in contemporary art, ... more The article examines one of the forms of recovery and revival of classicism in contemporary art, the direct quotation of classical statuary in paintings, sculptures and installations, from Giorgio de Chirico up to contemporary artists, from Michelangelo Pistoletto to Giulio Paolini, from Jannis Kounellis to Claudio Parmiggiani.
This article ("Annali della Facoltà di Lettere e Filosofia, anno LIV-LV, Bari 2014), a part ... more This article ("Annali della Facoltà di Lettere e Filosofia, anno LIV-LV, Bari 2014), a part of a broader research work about the reuse of the painting styles of the past in Contemporary Art, focuses on the dynamics of the recovery, in the nineteen sixties, of Italian artistic traditions by the exponents of the so-called “Scuola di Piazza del Popolo”, a group that emerged in Rome at the beginning of the decade. Through the analysis of the stylistic and formal choices made by these painters and sculptors, and of the techniques they employed, it has been possible to identify a particular form of recovery that can be defined with the term “reportagista” since, in most cases, it involved the photographic transfer onto canvas of details of great Italian masterpieces. This peculiar artistic tendency, which emerges clearly in the works of Mario Schifano, Cesare Tacchi, Giosetta Fioroni, Mario Ceroli and, above all, Tano Festa, is the most original aspect of what has been conventionally considered “the Italian version of Pop Art”.
This article ("La parola nell’arte concettuale di Salvo", in “Senzacornice”, n. 14, novembre 2015... more This article ("La parola nell’arte concettuale di Salvo", in “Senzacornice”, n. 14, novembre 2015-febbraio 2016, www.senzacornice.org/rivista/index.php, ISSN 2281-3330) deals with a particular artistic use of the word made by one of the most singular exponents of the Italian avant-garde, Salvo, who inserts into his works (tombstones or paintings) names and phrases, between conceptual art and citationism.
The contribution ("La citazione materica in Jannis Kounellis", in “Senzacornice”, n. 13, giugno-s... more The contribution ("La citazione materica in Jannis Kounellis", in “Senzacornice”, n. 13, giugno-settembre 2015, http://www.senzacornice.org/rivista/articolo.php?id=94, ISSN 2281-3330) focuses on a particular aspect of Jannis Kounellis's production, linked to the Greek artist's attitude of contaminating references to Western art and culture to technical and material approaches inspired by a clear "poor" matrix, which are rooted in many of his most famous "untitled" works.
The article ("Un trionfo barocco di cibo e morte. Le Ultime Cene di Mat Collishaw", in “ArtSOB Ma... more The article ("Un trionfo barocco di cibo e morte. Le Ultime Cene di Mat Collishaw", in “ArtSOB Magazine”, Anno I, n. 4, maggio-luglio 2015, ISSN 2384-8863) examines a specific Mat Collishaw production linked to the famous photographic works of the "Last Meal" series. Between quotations from the past - from Caravaggio to the eighteenth-century "vanitas" - and cynical realism, the protagonist of the Young British Artists group represents the last meal of death-stricken historians, by Adolf Eichmann to condemned in Texan prisons.
The contribution ("Lino Sivilli. Classico-Agreste", Modugno BA 2013) has as its theme the artisti... more The contribution ("Lino Sivilli. Classico-Agreste", Modugno BA 2013) has as its theme the artistic career of Lino Sivilli, avant-garde painter and sculptor from Apulia. The essay describes the art of Sivilli, from the beginnings to the present day, an art related in particular to two lines of investigation, on the one hand the history of rural civilization, with its rituals and folklore, on the other the ancient and classic artistic tradition, with its icons and its models. These strands come together in original creations that show a definite style and a particular choice of the techniques and formal approaches.
The article ("ArtSOB Magazine", Anno I, n. 3, febbraio-aprile 2015) examines a specific part, per... more The article ("ArtSOB Magazine", Anno I, n. 3, febbraio-aprile 2015) examines a specific part, perhaps the most important, of the photographic production of Mimmo Jodice, linked to the description of the remains of the classical civilizations of the Mediterranean. With a particular attention to what's around him, the photographer captures the charm of the ruins, while bringing out the specifics of landscapes and old buildings, in a sort of exaltation of the "genius loci" inherent in them.
The paper ("ArtSOB Magazine", Anno I, n. 2, ottobre 2014 - gennaio 2015) analyzes the career of F... more The paper ("ArtSOB Magazine", Anno I, n. 2, ottobre 2014 - gennaio 2015) analyzes the career of Fazal Sheikh, American photographer constantly engaged in social work. Through his personal artistic journey, he met with a lot of reality of hardship, poverty and migration, working in different situations related to the war, especially in Africa and Asia. The lives of refugees, their problems and their hard existence, are represented by the photographer in black and white portraits, full of strong emotional tension; at the same time, they become the ideal tool to make known the sad reality of certain situations.
The article ("ArtSOB Magazine", Anno I, n. 1, maggio-settembre 2014) examines some types of "soci... more The article ("ArtSOB Magazine", Anno I, n. 1, maggio-settembre 2014) examines some types of "social" photography, describing in particular two different approaches to telling a story. The first, through the representation of the human absence, often in environments and landscapes affected by the violence of the war; the second approach coincides, instead, with the practice of the photographic portrait, which focuses particularly on people and stories of hardship and difficulty.
This article ("Annali della Facoltà di Lettere e Filosofia, anno LIV-LV, Bari 2014), a part of a ... more This article ("Annali della Facoltà di Lettere e Filosofia, anno LIV-LV, Bari 2014), a part of a broader research work about the reuse of the painting styles of the past in Contemporary Art, focuses on the dynamics of the recovery, in the nineteen sixties, of Italian artistic traditions by the exponents of the so-called “Scuola di Piazza del Popolo”, a group that emerged in Rome at the beginning of the decade. Through the analysis of the stylistic and formal choices made by these painters and sculptors, and of the techniques they employed, it has been possible to identify a particular form of recovery that can be defined with the term “reportagista” since, in most cases, it involved the photographic transfer onto canvas of details of great Italian masterpieces. This peculiar artistic tendency, which emerges clearly in the works of Mario Schifano, Cesare Tacchi, Giosetta Fioroni, Mario Ceroli and, above all, Tano Festa, is the most original aspect of what has been conventionally considered “the Italian version of Pop Art”.
The article (Annali della Facoltà di Lettere e Filosofia, anno LI, Bari 2010) examines the career... more The article (Annali della Facoltà di Lettere e Filosofia, anno LI, Bari 2010) examines the career of Ardengo Soffici, one of the most interesting italian artist in the first half of twentieth century. This contribution analyzes the artistic history of Soffici, from the training in Florence until his adhesion to the "Ritorno all'Ordine", through fundamental experiences in Paris and in the cubist and futurist avant-garde.
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