Lead in Modern and Contemporary Art

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Dr. Sharon Hecker (Independent Scholar, Independent Scholar, Italy) Silvia Bottinelli (Tufts University, USA)

Lead in Modern and Contemporary Art

Dr. Sharon Hecker (Independent Scholar, Independent Scholar, Italy), Silvia Bottinelli (Tufts University, USA), Silvia Bottinelli (Tufts University USA)

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English

Bloomsbury Visual Arts
30 May 2024

Series: Material Culture of Art and Design

Lead in Modern and Contemporary Art is the first edited volume to critically examine uses of lead as both material and cultural signifier in modern and contemporary art. The book analyzes the work of a diverse group of artists working in Europe, the Middle East, and North America, and takes into account the ways in which gender, race, and class can affect the cultural perception of lead.

Bringing together contributions from a distinguished group of international contributors across various fields, this volume explores lead’s relevance from a number of perspectives, including art history, technical art history, art criticism, and curatorial studies. Drawing on current art historical concerns with materiality, this volume builds on recent exhibitions and scholarship that reconsider the role of materials in shaping artistic meaning, thus giving a central relevance to the object and its physicality.

Edited by: Dr. Sharon Hecker (Independent Scholar Independent Scholar Italy), Silvia Bottinelli (Tufts University, USA), Silvia Bottinelli (Tufts University USA)
Imprint: Bloomsbury Visual Arts
Country of Publication: United Kingdom
Dimensions: Height: 234mm, Width: 156mm, Spine: 25mm
Weight: 760g
ISBN: 9781350436985
ISBN 10: 1350436984
Series: Material Culture of Art and Design
Pages: 280
Publication Date: 30 May 2024
Audience: College/higher education , Primary
Format: Paperback
Publisher's Status: Active

List of Figures List of Contributors Acknowledgements Introduction: To Be Continued... Silvia Bottinelli (Tufts University, USA) and Sharon Hecker (independent scholar) 1. A Most Insidious Poison Taking Advantage of our Necessities: A Brief Historical Introduction to Lead and Lead Poisoning, Christian Warren (Brooklyn College - The City University of New York, USA) 2. Lead’s Historic Transformations, Spike Bucklow (University of Cambridge, UK) 3. In the Backyard at Burcroft: Henry Moore’s Experiments in Lead, Rowan Bailey (University of Huddersfield, UK) 4. The Weakness of Lead: Materiality and Modern American Sculpture, Marin R. Sullivan (Harry Bertoia Foundation & Cheekwood Estate and Gardens, USA) 5. Due Process: Richard Serra's Early Splash/Cast Works, Jeffrey Weiss (The Institute of Fine Arts, USA) 6. Exorbitant Matter: Materiality According to Lynda Benglis, Luke Naessens (Princeton University, USA) 7. Lead in the Lexicon of Gilberto Zorio’s Sculpture, Elizabeth Mangini (California College of the Arts, USA) 8. The Stopping Power of Lead: Luciano Fabro, Giuseppe Penone, and Marisa Merz, Sharon Hecker (independent scholar) 9. “Mankind needs some lead so as to be somewhat heavier”: Beuys, Alchemy, and Duchamp, Claudia Mesch (Arizona State University, USA) 10. A Conversation with Remo Salvadori, Sharon Hecker (independent scholar) and Silvia Bottinellii (Tufts University, USA) Critical Introduction by Rosalind McKever (Victoria and Albert Museum, UK) 11. Two Views of Anselm Kiefer: In the Studio and In the Museum Kiefer Speaks About Lead with Karl Ove Knausgaard Loaded Lead: Anselm Kiefer in the Collection of the Israel Museum, Sharon Tager and Adina Kamien (The Israel Museum, Jerusalem) 12. Anthony Caro: Lead and Wood Sculptures. 1980–1989, Karen Wilkin (independent scholar) 13. The New British Sculpture and the Poetics and Pragmatics of Lead, Jon Wood (independent scholar) 14. Organizing Against an Invisible Threat. Lead According to Futurefarmers and Mel Chin, Silvia Bottinelli (Tufts University, USA) 15. An Interview with Daniela Rivera: The weight of lead and painting beyond the surface, Silvia Bottinelli (Tufts University, USA) and Sharon Hecker (independent scholar) Bibliography Index

Sharon Hecker is an art historian and curator specializing in modern and contemporary Italian art. A leading authority on Medardo Rosso, her books include A Moment’s Monument: Medardo Rosso and the International Origins of Modern Sculpture (2017), Postwar Italian Art History Today: Untying ‘The Knot’ (co-editor, 2018), and Finding Lost Wax: The Disappearance and Recovery of an Ancient Casting Technique and the Experiments of Medardo Rosso (2020). Silvia Bottinelli is Senior Lecturer in the Visual and Material Studies Department of the School of the Museum of Fine Arts at Tufts University, USA. She is a widely published scholar of modern and contemporary art. Her recent books include Double-edged Comforts: Domestic Life in Modern Italian Art and Visual Culture (2021) and The Taste of Art: Cooking, Food, and Counterculture in Contemporary Practices (co-editor, 2017).

Reviews for Lead in Modern and Contemporary Art

"[Lead in Modern and Contemporary Art] includes fifteen contributing essays which are rich in insightful observations about lead as a resource and about the artists they are discussing. * Sculpture Journal * This fascinating book concerns that alluringly contradictory element, lead. Malleable, easily melted, strikingly heavy, insidiously toxic, its threats and promises have attracted those sculptors committed to addressing what Emily Dickinson termed the ""hour of lead"". * Anne M. Wagner, Professor Emerita, University of California, Berkeley, USA * This important volume offers fresh ways of thinking about materiality in modern sculpture. Its wide-ranging explorations of artists’ fascination with the physical substance and symbolic meanings of lead make for a genuinely intriguing and illuminating study. * Alex Potts, Max Loehr Collegiate Professor Emeritus, University of Michigan, USA * The editors must be congratulated on the eclectic yet coherent contents, and on choosing people who not only have things to say, but who can actually write, not always the case in such collections. Lead may have sat splashed, dull and almost sullen in the corner of a gallery like an artist come too late, or early, at a vernissage, but goodness me, in this book, in a process of remarkable transformation, it becomes a catalyst beyond platinum: a catalyst for thought about process and materials in general. * Leonardo Reviews *"