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About this product
- DescriptionFocusing on artwork by Lucio Fontana, Alberto Burri, and Piero Manzoni, Jaleh Mansoor demonstrates and reveals how abstract painting, especially the mochrome, broke with fascist-associated futurism and functioned as an index of social transition in postwar Italy. Mansoor refuses to read the singularly striking formal and procedural violence of Fontana's slit canvasses, Burri's burnt and exploded plastics, and Manzoni's achromes as metaphors of traumatic memories of World War II. Rather, she locates the motivation for this violence in the history of the medium of painting and in the ecomic history of postwar Italy. Reconfiguring the relationship between politics and aesthetics, Mansoor illuminates how the mochrome's reemergence reflected Fontana, Burri, and Manzoni's aesthetic and political critique of the Marshall Plan's ecomic warfare and growing American hegemony. It also anticipated the struggles in Italy's factories, classrooms, and streets that gave rise to Automia in the 1960s. Marshall Plan Modernism refigures our understanding of modernist painting as a project about labor and the geopolitics of postwar reconstruction during the Italian Miracle.
- Author BiographyJaleh Mansoor is Assistant Professor of Art History at the University of British Columbia and coeditor of Communities of Sense: Rethinking Aesthetics and Politics, also published by Duke University Press.
- Author(s)Jaleh Mansoor
- PublisherDuke University Press
- Date of Publication01/09/2016
- SubjectFine Arts / Art History
- Series TitleArt History Publication Initiative
- Place of PublicationNorth Carolina
- Country of PublicationUnited States
- ImprintDuke University Press
- Content Note26 illustrations, incl. 8 in color
- Weight613 g
- Width3887 mm
- Height5817 mm
- Spine23 mm
- Format DetailsCloth over boards
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