In 1976 Paolo Icaro developed his first Unfinished, a small sculpture-pedestal in plaster. From this moment the white material is used by the artist in a predominant way and Studio Woodbridge, his atelier in Connecticut, is populated with forms in which the material is investigated in another way, with gestures distant from the main rules of sculptural tradition. The unpublished reading of the letters exchanged by the sculptor with the gallerist Massimo Minini (from 1976 to 1980), allowed to disclose news and reflections on the development of the Unfinisheds first and then Unfinishings. In fact, alongside the major and essential historical-critical contributions that investigate the figure and art of Paolo Icaro, the recovery of what the sculptor confided to the gallery owner helps to fully reveal the genesis of these works. In fact, it is possible to find in the cards ideas, projects, theoretical declarations, personal reflections and confidences that have accompanied the development of these peculiar sculptures for several years. In addition to the formal elaboration of his works, Icaro remains always very careful to also examine the linguistic, conceptual and philosophical field to fully reflect the sense of his doing and precisely these aspects are now recovered as they emerge in their substance and originality as written by artist in a direct and highly meditated form, opening to considerations that enrich the knowledge of his sculptural work

“... cosa diavolo stai plastering ora.” Notizie e riflessioni sulla genesi degli Unfinishings di Paolo Icaro nelle lettere inviate a Massimo Minini (1976-1980) / Boyer, Irene. - n. 17-18(2021), pp. 182-201.

“... cosa diavolo stai plastering ora.” Notizie e riflessioni sulla genesi degli Unfinishings di Paolo Icaro nelle lettere inviate a Massimo Minini (1976-1980)

Irene Boyer
Primo
2021

Abstract

In 1976 Paolo Icaro developed his first Unfinished, a small sculpture-pedestal in plaster. From this moment the white material is used by the artist in a predominant way and Studio Woodbridge, his atelier in Connecticut, is populated with forms in which the material is investigated in another way, with gestures distant from the main rules of sculptural tradition. The unpublished reading of the letters exchanged by the sculptor with the gallerist Massimo Minini (from 1976 to 1980), allowed to disclose news and reflections on the development of the Unfinisheds first and then Unfinishings. In fact, alongside the major and essential historical-critical contributions that investigate the figure and art of Paolo Icaro, the recovery of what the sculptor confided to the gallery owner helps to fully reveal the genesis of these works. In fact, it is possible to find in the cards ideas, projects, theoretical declarations, personal reflections and confidences that have accompanied the development of these peculiar sculptures for several years. In addition to the formal elaboration of his works, Icaro remains always very careful to also examine the linguistic, conceptual and philosophical field to fully reflect the sense of his doing and precisely these aspects are now recovered as they emerge in their substance and originality as written by artist in a direct and highly meditated form, opening to considerations that enrich the knowledge of his sculptural work
2021
Paolo Icaro; Unfinishing; Massimo Minini; Unfinished
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“... cosa diavolo stai plastering ora.” Notizie e riflessioni sulla genesi degli Unfinishings di Paolo Icaro nelle lettere inviate a Massimo Minini (1976-1980) / Boyer, Irene. - n. 17-18(2021), pp. 182-201.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11573/1615309
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