Marcel Broodthaers

6 February 1963: at the age of just 30 Piero Manzoni was found dead of a heart attack in his studio in via Fiori Chiari. From that moment on his reputation as a provocateur and wild child preceded him, with his most subversive work, Artist’s Shit, elevating him to cult status. But what actually came before and lay behind those 30 grams of pure artistic output? Flaminio Gualdoni sets out to explore exactly that in this biography that traces the guiding themes of Manzoni’s works, lending order to a jumble of hitherto fragmented materials and setting aside any apocryphal hypotheses. Milan’s “dolce vita” nightlife and the artist’s youthful bike expeditions; the early experiments under Fontana, in the search for a personal style, and the partnerships with young Italian contemporaries and international avant-garde movements which brought acclaim and recognition. This fast-moving career relegates Manzoni the private individual increasingly into the background, turning the spotlight purely on Manzoni the artist. What emerges powerfully, even in his continuous, incessant experimentation with all kinds of media – from painting to designs for immersive environments – is the compact kernel of an aesthetic adventure around the very essence of the work of art. And his life, in the dual sense of everyday existence and exceptional artistic undertaking, was necessarily an integral part of this tenaciously pursued adventure. In the words of the artist: “There is nothing to say; there is only to be, to live.”

Fourth volume of the serie "Quaderni del collezionismo" edited by Pinacotaca Agnelli and published in co-edition with Johan & Levi editore.

Conceptual Art was one of the most important movements of the second half of the 20th century. Starting from its origins in the 1960s and the principles formulated by Dan Graham, Joseph Kosuth, Sol LeWitt and Lawrence Weiner, Alberro addresses its specifically New York trajectory through the career of Seth Siegelaub, who unquestionably played a key role. An eccentric, multifaceted art dealer, Siegelaub employed wholly unconventional methods of promotion to support artists who seemed to create works out of nothing, sponsored them with shrewd and diplomatic business acumen, and paved the way for the appearance of a new type of actor on the art scene, the freelance curator. Alberro offers an unprecedented overview of materials and reviews regarding the most important works, embedding Conceptual Art in the social context of rebellion against traditional cultural institutions, commercialization and the dawn of the globalized world. A new perspective emerges, however, from his meticulous reconstruction. In actual fact, this movement had no intention whatsoever of rejecting the market but rather aimed at revolutionizing and conquering it. It was to this end, for example, that Siegelaub founded Image Art Programs for Industry Inc., a firm that used contemporary art to confer added value on companies seeking social visibility, and drew up theArtist’s Reserved Rights Transfer and Sales Agreement, a new type of contract aimed at limiting the overwhelming power of collectors, galleries and museums and increasing the rights of artists. In the end, this instrument involuntarily set the seal on the wedding of art and capitalism.

One of the most innovative and influential artists of his generation, Robert Rauschenberg (Port Arthur, 1925 – Captiva Island, 2008), is a key figure in the radical upheavals that American visual art went through as from the late 1950s during the transition from Abstract Expressionism to Pop Art. Born in Texas and part Cherokee on his mother’s side, Rauschenberg daringly challenged all assumptions on taking his first steps in the art world. From his first stay in Paris, the formative experience at Black Mountain College under the guidance of Joseph Albers and his trip to Rome with Cy Twombly to his friendship with John Cage and Merce Cunningham and recognition at the international level with the award of the Golden Lion at the 1964 Venice Biennial, his art developed off the beaten track in the field of experimentation that breaks all the rules, transforming the two-dimensional space of the painting into a receptacle for heterogeneous materials. Newspaper cuttings, pieces of fabric, photographs and found objects, nothing was excluded from his Combine paintings, hybrid creations halfway between painting and sculpture, which combine a love for discarded objects inherited from Dadaist collage with abstract-Art Informel brushwork. Calvin Tomkins offers us extraordinary insight into the revolution whereby art emerged from the museums and galleries to occupy the centre of the social stage. He presents its leading figures: the old guard of Pollock and de Kooning and the new generation of Jasper Johns, Frank Stella and Andy Warhol alongside art dealers and gallery owners like Betty Parsons, Leo Castelli and the collector and patron Peggy Guggenheim. He documents the rise to the pinnacle of success of the artist who aimed more than any other in this context at a cumulative art, the irrepressible innovator who stated his desire to create a situation in which there was as much space for the viewer as the artist.