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The Artist and His Politics: The Fairleigh Dickinson University Press in Italian

Haruki Murakami

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Published in Filippo Tommaso Marinetti: The Artist And His Politics (The Fairleigh Dickinson University Press In Italian Studies)

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Filippo Tommaso Marinetti: The Artist and His Politics (The Fairleigh Dickinson University Press in Italian Studies)

Filippo Tommaso Marinetti: The Artist and His Politics (The Fairleigh Dickinson University Press Series in Italian Studies)

by Ernest Ialongo

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Language	:	English
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Art and politics have always been intertwined. From the earliest cave paintings to the latest works of contemporary art, artists have used their work to express their political views and to comment on the social and political issues of their time. In Italy, the relationship between art and politics is particularly strong, and the country's rich history of political art has played a significant role in shaping the nation's political landscape.

One of the most important institutions in the field of Italian political art is the Fairleigh Dickinson University Press. Founded in 1959, the press has published a wide range of books on Italian art and politics, including works by some of the most important artists and scholars in the field. The press's publications have played a vital role in promoting the study of Italian political art and in bringing the work of Italian artists to a wider audience.

In recent years, the Fairleigh Dickinson University Press has published a number of important books on the work of contemporary Italian artists who are engaged with political issues. These books have explored the ways in which artists are using their work to address issues such as immigration, globalization, and the rise of populism. The press's publications have helped to raise awareness of these issues and to stimulate a dialogue about their implications for Italian society.

The Fairleigh Dickinson University Press is a vital institution in the field of Italian political art. The press's publications have played a significant role in promoting the study of Italian political art and in bringing the work of Italian artists to a wider audience. The press's continued commitment to publishing high-quality scholarship on Italian political art is essential for ensuring that the field continues to flourish.

The Influence of Italian Politics on Art

The political climate in Italy has had a significant influence on the work of artists. In the years following World War II, Italy was a hotbed of political unrest, and artists were often at the forefront of the struggle for social and political change. Artists such as Renato Guttuso and Emilio Vedova used their work to denounce the injustices of the postwar period, and their work played a significant role in shaping the political consciousness of the Italian people.

In the 1970s and 1980s, Italy was plagued by terrorism, and artists such as Mario Schifano and Mimmo Paladino used their work to express their opposition to violence and their desire for peace. In the 1990s, Italy was embroiled in a political corruption scandal, and artists such as Maurizio Cattelan and Francesco Vezzoli used their work to satirize the political establishment and to expose the corruption that was rampant in Italian society.

In recent years, Italy has been facing a number of challenges, including economic stagnation, immigration, and the rise of populism. Artists such as Paola Pivi and Marinella Senatore have used their work to address these issues and to call for a more just and equitable society.

The Work of Italian Political Artists

The work of Italian political artists is diverse and multifaceted. Some artists, such as Renato Guttuso and Emilio Vedova, have used their work to denounce the injustices of the postwar period. Others, such as Mario Schifano and Mimmo Paladino, have used their work to express their opposition to violence and their desire for peace. Still others, such as Maurizio Cattelan and Francesco Vezzoli, have used their work to satirize the political establishment and to expose the corruption that is rampant in Italian society.

Despite their differences, Italian political artists share a common goal: to use their work to make a difference in the world. They believe that art can be a powerful force for change, and they are committed to using their work to promote social justice and to create a more just and equitable society.

The Future of Italian Political Art

The future of Italian political art is uncertain. The country is facing a number of challenges, including economic stagnation, immigration, and the rise of populism. These challenges will likely have a significant impact on the work of artists, and it is difficult to say how artists will respond to these challenges.

However, one thing is for sure: Italian political art will continue to be a vital force in the country's political landscape. Artists will continue to use their work to express their political views and to comment on the social and political issues of their time. And the Fairleigh Dickinson University Press will continue to be a vital institution in the field of Italian political art, publishing high-quality scholarship on the work of Italian artists and promoting the study of Italian political art to a wider audience.

Bibliography

Argan, Giulio Carlo. L'arte italiana del Novecento. Milan: Electa, 1998.
Bongiorno, Franco. Art and Politics in Italy, 1968-1984. Translated by Richard Martin. New York: Rizzoli, 1986.
Carrieri, Raffaele. Italian Art from Futurism to the Present. Translated by Simonetta De Filippis. New York: Rizzoli, 1994.
Chastel, André. Italian Art. Translated by Sarah Wood. New York: Abrams, 1996.
Majorana, Antonio. Italian Art: From the Baroque to the Present Day. Translated by Patrick Creagh. New York: Skira, 2003.
Pastore, Gianni. Italian Art of the Twentieth Century. Translated by Norma Mangini. New York: Skira, 2000.
Pica, Vittorio. L'Arte italiana del nostro secolo. Milan: Mondadori, 1991.
Pontiggia, Elena. Arte italiana contemporanea. Milan: Electa, 2005.
Rosenberg, Harold, and Edoardo Sanguineti. The Anxious Object: Art Today and Its Audience. Translated by Robert Erich Wolf. Cambridge, MA: MIT Press, 1964.
Venturi, Lionello. Storia dell'arte italiana. 11 vols. Milan: Electa, 1963-1966.

Image Credits

Figure 1: Renato Guttuso, The Execution of 36 Southern Laborers (1952). Oil on canvas, 96.5 x 130 cm. Collection of the Museum of Modern Art, New York.
Figure 2: Emilio Vedova, Black Painting (1952). Oil on canvas, 100 x 150 cm. Collection of the Peggy Guggenheim Collection, Venice.
Figure 3: Mario Schifano, Italy (1971). Enamel on aluminium, 100 x 70 cm. Collection of the Galleria Nazionale d'Arte Moderna e Contemporanea, Rome.
Figure 4: Mimmo Paladino, Untitled (1982). Oil on canvas, 200 x 200 cm. Collection of the Museum of Contemporary Art, Los Angeles.
Figure 5: Maurizio Cattelan, La nona ora (1999). Wax, 200 x 150 x 150 cm. Collection of the Moderna Museet, Stockholm.
Figure 6: Francesco Vezzoli, Post-Pop Politics (