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Topic: Lucio Fontana

	Fontana Articulates Cyber-Space in 1947
		Fontana wrote or collaborated on a number of other proto-cyber theoretical tracts, such as his eminent "Manifesto Bianco" (White Manifesto) of 1946 in which it was stated that: "What is necessary is to overcome painting, sculpture, poetry and music.
		Fontana often said that the canvas for him is primarily there not for what it is or for what it represents but to show that we can look and move through it.
		Fontana aimed to evoke possibilities within the imagination of the audience and to engage their active participation and to release art from its previous obligatory fidelities to the hypothetical and material status quo.
	www.eyewithwings.net /nechvatal/fontana.htm (1625 words)

	The State Russian Museum. exhibitions. (Site not responding. Last check: 2007-10-13)
		Fontana overcomes the tradition of the easel painting, he creates a situation on the plane of a canvas, which excludes the depth and the horizon, and aspires to show the continuity.
		Fontana's interest in light is connected with an aspiration to obliterate the limits between painting and sculpture.
		Fontana uses fragments of the coloured glass, bright yellow background and gold to stress the importance of light as the main element of the work.
	www.rusmuseum.ru /eng/exhibitions?id=395 (444 words)

	Galerie KAESS-WEISS: Biography of Lucio Fontana
		Enraged, Lucio Fontana is said to have slashed one of his "failed" pictures.
		Lucio Fontana is born on February 19 in Argentina as the son of the sculptor Luigi Fontana from Verese and his wife Lucia Bottini, an Argentinian of Italian descent.
		In 1921, Lucio Fontana returns to Argentina and works in his father's studio, where commercial applied art is produced.
	www.galeriekaessweiss.com /artists/fontana/ebiographie.html (849 words)

	Lucio Fontana (Site not responding. Last check: 2007-10-13)
		Lucio Fontana is one of my favourite artists, since having visited a retrospective of his work at the Hayward in 1999.
		Fontana's introduction to the first exhibition of Group T helps explain his preoccupation with going beyond form as the basis for all art.
		Fontana was not a member of Group T but he clearly identified with their aims.
	www.users.waitrose.com /~weller/sites/personalstudy/artists/fontana/fontana.htm (289 words)

	ARTINVEST2000® LUCIO FONTANA ENGLISH
		Lucio Fontana, son of a Milanese sculptor, was born in Santa Fé, Argentina on February 19
		Fontana was mentioned by Marinetti in the futurist manifesto of ceramics and air ceramics in 1936.
		Fontana also worked on installations of huge dimensions, starting in 1949 with an exhibition at the Naviglio Gallery in Milan, where he created a Spatial Environment that significantly preceded the use of neon in art which took place in the ‘sixties.
	www.artinvest2000.com /fontana_english.htm (652 words)

	Lucio Fontana, 1899 - 1968
		In 1958 Fontana embarked on his celebrated gashed canvases, violent interventions with sharp knives in what were usually monochrome painted surfaces.
		The early 1960s saw Fontana combining his pictorial devices with areas of paint, often mixed with sand and applied in thick layers which were often scored and incised.
		Fontana's career closed with 'La fine di dio', an impressive series of works which exerted an enormous influence on the younger generation of artists in the 1960s.
	www.kettererkunst.com /bio/LucioFontana-1899-1968.shtml (377 words)

	International Fine Print Dealers Association (IFPDA)
		Lucio Fontana was born in Rosario de Santa Fé, Argentina in 1899.
		Fontana joined a group of abstract Italian sculptors in 1934 and in 1935 he traveled to Paris and joined the Abstraction-Création group.
		Fontana moved to Buenos Aires in 1940 and in 1946 he founded the Academia de Altamira from which the Manifesto Blanco emerged.
	www.printdealers.com /artist_template.cfm?id=474 (301 words)

	Fontana Lucio: Biography
		Lucio Fontana was born in Rosario in the Santa Fé region of Argentina on 19th February 1899.
		Again prompting both enthusiasm and shock, Fontana was no longer limiting himself to making holes in canvasses, but was also painting them and applying colours, inks, pastels, collages, sequins and fragments of glass.
		In the sixties, Fontana devoted his attention to a series of oval oil paintings, all in the same format, monochrome and perforated with numerous holes and slashes, and sometimes sprinkled with sequins, called Fine di Dio (The End of God).
	www.italica.rai.it /eng/principal/topics/bio/fontana.htm (2144 words)

	Der unbekannte Fontana
		This exhibition was on display from October 18, 2003 up until January 11, 2004 at the Standauml;dtische Galerie Villingen-Schwenningen.and#13; In addition to his perforated or slashed canvases, Artist Lucio Fontana (1899-1968) devoted himself to the most diverse sketches and paintings of the human figure.
		In addition to his perforated or slashed canvases, Artist Lucio Fontana (1899-1968) devoted himself to the most diverse sketches and paintings of the human figure.
		A further highlight is the walk-in reconstruction of the space installation "Ambiente Spaziale" (Spatial Environment) with which Lucio Fontana created a furor in the international art world at the documenta 4 in Kassel 1968.
	www.gft.com /gft_international/en/gft_international/Bluesky/Kunst_Kultur/Projekte/Der_unbekannte_Fontana.html (246 words)

	Guggenheim Collection - Artist - Fontana - Biography
		Lucio Fontana was born February 19, 1899, in Rosario de Santa Fé, Argentina.
		In the last year of his career, Fontana became increasingly interested in the staging of his work in the many exhibitions that honored him worldwide, as well as in the idea of purity achieved in his last white canvases.
		Fontana died September 7, 1968, in Comabbio, Italy.
	www.guggenheimcollection.org /site/artist_bio_47.html (438 words)

	Guggenheim Collection - Artist - Fontana - Spatial Concept, Expectations
		Lucio Fontana’s respect for the advancements of science and technology during the 20th century led him to approach his art as a series of investigations into a wide variety of mediums and methods.
		From 1947 on Fontana’s experiments were often entitled Concetti spaziali (Spatial Concepts), among which a progression of categories unfolds.
		From 1958, Fontana purified his paintings by creating matte, monochrome surfaces, thus focusing the viewer’s attention on the slices that rend the skin of the canvas.
	www.guggenheimcollection.org /site/artist_work_md_47_1.html (274 words)

	Lucio Fontana
		Lucio Fontana was one of the most influential and innovative figures of twentieth-century Italian art.
		From his earliest monumental sculptures and collaborations with architects in the 1930s to his spatial environments and slashed canvases of the 1950s and 1960s, Fontana's raw, vigorous, and richly expressive works overturned the conventions of art and challenged existing ideas about the role of the artist in the age of rapid technological development.
		Throughout his lifetime, Fontana was driven by the spirit of exploration, constantly questioning and extending the boundaries of his own practice, confounding expectations, and provoking and amazing an ever-growing audience.
	www.ucpress.edu /books/pages/9165.html (253 words)

	Sotheby's - Services & Information - Press Releases (Site not responding. Last check: 2007-10-13)
		Alberto Burri, Lucio Fontana and Piero Manzoni were instrumental in the development of a new artistic language during the years immediately following the Second World War.
		When Lucio Fontana (1899-1968) was invited to create his own room at the Venice Biennale in 1958, he decided to centre his exhibition on a group of eight Sculture Spaziale which he had been working on over the previous couple of years.
		Vaguely plant-like in form, Fontana created a ‘forest’ of sculpture in which each was characterised by a long thin stem supplanted by a variety of flattened organic shapes.
	www.shareholder.com /bid/news/20020925-90800.cfm (829 words)

	centenario di lucio fontana (Site not responding. Last check: 2007-10-13)
		A vital and living artist rich in imagination, versatility and freshness of vision, the only way to revisit Fontana is "itinerantly", in tune with his relationship with Milan: imbued with movement and dynamism.
		Century, Fontana practised a multiplicity of languages and fields of operation: painting and sculpture, architecture and "spatial environments".
		The exhibitions organised by the Lucio Fontana Foundation and sponsored by ENEL in its programme Luce per l’Arte (Light for Art) enjoy the patronage of the Presidency of the Republic, of the Ministry for Cultural Heritage and of the City of Milan.
	www.pac-milano.org /ing/fontana99 (224 words)

	Media Art Net \| Fontana, Lucio: Biography (Site not responding. Last check: 2007-10-13)
		Fontana, Lucio «Television Manifesto of the Spatial Movement»
		In a series of manifestos originating with the «Manifesto blanco» (White Manifesto) of 1946, Fontana announced his goals for a“spatialist” art, one that could engage technology to achieve an expression of the fourth dimension.
		From 1947 on Fontana’s experiments were often entitled «Concetti spaziali» (Spatial Concepts).
	www.medienkunstnetz.de /artist/fontana-lucio/biography (188 words)

	Acquavella: Lucio Fontana's Biography
		Italian artist, Lucio Fontana was born in 1899 in Argentina.
		Sequins or glass fragments on top of a canvas were sometimes used to contrast the solidity of the material with the cut, negative spaces.
		By physically breaking the canvas, Fontana sought a new means of expression in contemporary art by making invisible space visible and exploring the relationship between space and matter.
	www.acquavellagalleries.com /main/artist_bio.cfm?artist_id=216 (195 words)

	Tate \| Glossary \| Spazialismo
		Italian movement (Movimento Spaziale - spacialist movement, or spacialism) started by the Argentine-born Italian artist Lucio Fontana after his return to Italy from Argentina in 1947.
		It consisted of an abstract object painted with phosphorescent paint and lit by a neon light and was a pioneering example of what became known as Installation art.
		Fontana made a long series of these and extended the idea into sculpture in his Concetto Spaziale, Natura series.
	www.tate.org.uk /collections/glossary/definition.jsp?entryId=282 (213 words)

	Tate \| Glossary \| School of Altamira
		Avant-garde art school (Academia Altamira) in Buenos Aires, Argentina, founded in 1946 by the Argentinian born Italian artist Lucio Fontana and others.
		Also in 1946 Fontana and a group of his students published the Manifiesto Blanco (white manifesto) setting out their ideas.
		Among Fontana's pupils at the Altamira Academy was the Brazilian artist Sergio de Camargo.
	www.tate.org.uk /collections/glossary/definition.jsp?entryId=262 (98 words)

	Lucio Books - Signed, used, new, out-of-print
		Cultured scion of a famous family and nephew of Argentine dictator Juan Manuel de Rosas, Lucio V. Mansilla (1831-1913) undertook an "excursion" to the Argentine interior in 1870 to visit natives in areas then largely unknown.
		Lucio Mansilla's Una excursión a los indios ranqueles, published in Argentina in 1870, is one of very few works in American letters that presents a vivid, firsthand account of a noncombative...
		Understanding the play between heredity and environment, and relating it to disease causation, is the task of ecogenetics.
	www.alibris.com /search/books/author/Lucio (702 words)

	Ugo Nespolo - Wikipedia, the free encyclopedia
		In the seventies, Nespolo also took over a new medium : the cinema, particularly of the experimental, artistic variety.
		The actors in these films were fellow artists from Lucio Fontana to Enrico Baj and Michelangelo Pistoletto.
		Nespolo's films have been the subject of exhibitions at prestigious institutions like the Beaubourg in Paris, the Philadelphia Museum of Modern Art, Warsaw's Filmoteka Polska and Ferrara's Galleria Civica d'Arte Moderna.
	en.wikipedia.org /wiki/Ugo_Nespolo (481 words)

	Lucio Senator Eddie Lucio, Jr.: District 27 In The Texas Senate, Senator Lucio Is Chairman Of The In
		Lucio Senator Eddie Lucio, Jr.: District 27 In The Texas Senate, Senator Lucio Is Chairman Of The In Senator Eddie Lucio, Jr.
		Lucio Fontana [Argentine-born Italian Arte Povera Sculptor and Painter, 1899-1968] Guide to pictures of works by Lucio Fontana in art museum sites and image archives worldwide.
		Lucio Pozzi art links/last verified October 3-4, 2004 All images and text on this Lucio Pozzi page are copyright 1999-2004 by John Malyon/Artcyclopedia, unless otherwise.
	www.99hosted.com /names19532.html (487 words)

	Sotheby's - Services & Information - Investor Relations (Site not responding. Last check: 2007-10-13)
		The group of eight works by Lucio Fontana are from the private collection of the late Alfred Otto Muller from Cologne, Germany.
		This was the first time Fontana had exhibited his work at the renowned art event in Germany and Mr.
		Their sale coincides with London’s first major show devoted to Fontana’s work at the Hayward Gallery, sponsored by Sotheby’s, which celebrates the centenary of the birth of the artist.
	www.shareholder.com /bid/news/19991109-11981.cfm (958 words)

	Sculpture.org
		Amedeo Modigliani and Lucio Fontana were profiled at the Los Angeles County Museum of Art and the Patricia Faure gallery respectively.
		Like Modigliani's work, Fontana’s is infused with a simplification of form that owes a debt to the groundbreaking works of Brancusi who was 23 years Fontana‘s senior.
		Marking the egg/head form with his signature slash, Fontana both names himself Brancusi’s heir and announces the end of an artistic era.
	www.sculpture.org /documents/scmag04/march04/webspecials/la.shtml (906 words)

	Book Cover (Site not responding. Last check: 2007-10-13)
		As I say on the back of the book, Fontana produced a large number of works under the general heading "Spatial Concept" (concetto spaziale) in which he physically scarred or "hacked" the work to overcome the differentiation of the plane of the artwork and its surrounding physical context.
		I chose this work, not just because of its name, but because it reflected a point in the book about cyberspace itself as being part and parcel of "our" world, and not some different plane of activities.
		Fontana started a group called the Movimento spaziale in 1947.
	monarch.gsu.edu /jcrampton/politics/cover.html (205 words)

	Collezione Peggy Guggenheim - Artisti - Lucio Fontana (1899-1968) (Site not responding. Last check: 2007-10-13)
		Collezione Peggy Guggenheim - Artisti - Lucio Fontana (1899-1968)
		Upon his return to Milan in 1928, Fontana enrolled at the Accademia di Belle Arti di Brera, which he attended for two years.
		The year 1949 marked a turning point in Fontana’s career; he concurrently created the Buchi, his first series of paintings in which he punctured the canvas, and his first spatial environment, a combination of shapeless sculptures, fluorescent paintings, and fl lights to be viewed in a dark room.
	www.guggenheim-venice.it /italiano/06_artisti/fontana.htm (458 words)

	MAM - Collection - Contemporary Art - Lucio Fontana
		An adherent of a movement known as “Spatialism,” Lucio Fontana sought to abandon known forms and create a newly dynamic art based on the unity of time and space.
		A sculptor as well as a painter, in 1949 he began to perforate his canvases, giving them a third and, theoretically, a fourth dimension.
		The work’s title – generically used by Fontana for many similarly subversive pieces – gives no clue as to what might be contained or concealed there.
	www.mam.org /collections/contemporaryart_detail_fontana.htm (162 words)

	DolceVita Events: Lucio Fontana (Site not responding. Last check: 2007-10-13)
		Born in Argentina in 1899, Lucio Fontana studied sculpture at Milan's Brera Academy in the late 1920's and spent the rest of his life in Italy.
		He created starkly expressive sculpture of plaster and terra cotta during this period before moving on to ceramics, a passion developed in the 30's which he did not abandon as long as he lived.
		His series "Concetti Spaziali" was born of this period and is comprised of monochromatic oval canvases worked with various types of cuts and holes.
	www.dolcevita.com /events/fontana/fontana1.htm (282 words)

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