Featuring the work of Walter de Maria, Michelangelo Pistoletto, Stephen Kaltenbach, Richard Long, Mario Merz, Douglas Huebler, Joseph Beuys, Eva Hesse, Michael Heizer, Ger van Elk, Jannis Kounellis, Lawrence Weiner, Luciano Fabro, Bruce Naumann, Joseph Kosuth, Jan Dibbets, Giovanni Anselmo, Robert Barry, Pier Paolo Calzolari, Dennis Oppenheim, Barry Flanagan, Robert Smithson, Giulio Paolini, Reiner Ruthenbeck, Alighiero Boetti, Keith Sonnier, Giuseppe Penone, Franz Erhard Walther, Hans Haacke, Gilberto Zorio, Robert Morris, Marinus Boezem, Carl Andre, Emilio Prini, Richard Serra.

*Please note this publication is secondhand and has some traces of previous ownership.

The first comprehensive monograph on the pioneer of Arte Povera, inventor of a “relational aesthetics” in the 1960s, political activist, and advocate of an ecologically concerned undertaking in the visual arts.

Piero Gilardi (born 1942 in Torino) is a pioneer of Arte Povera and a proud advocate of an ecological-concerned undertaking in visual arts. He is a peripatetic artist who gathered information about experimental art and creators in the 1960s, promoting the work of Richard Long or Jan Dibbets, and introducing Bruce Nauman or Eva Hesse into Europe. He is also a political activist who marched with FIAT workers in the 1970s, and who founded, in the 2000s the Living Art Park, commissioning earthworks to contemporary artists such as Dominique Gonzalez-Foerster or Lara Almarcegui.

A collection of visual incursions by Italian artist Emilio Prini in dozens of exhibition catalogues and print publications over the course of five decades. Meticulously researched, and yet necessarily incomplete, this book is a glimpse into the subtlety with which Prini turned each engagement with the world of ideas into a joust for mastery over space, time, and form.

In his work, Arte Povera artist Emilio Prini (1943–2016) used photography, sound and written texts to challenge the viewer’s perception and experience. Highlighting particular elements, he often revealed the relationship between reality and its reproduction.

A key figure of Arte Povera, Mario Merz investigates and represents the processes of transformation of nature and human life: with in particular, the igloos, visually traceable to primordial habitations, become for the artist the archetype of inhabited places and of the world, as well as a metaphor for the various relationships between interior and exterior, between physical and conceptual space, between individuality and collectivity. These pieces are characterized by a metal structure coated in a great variety of common materials, such as clay, glass, stone, jute, and steel—often leaning or intertwined in an unstable fashion—and by the use of neon elements and wording.