The Re-identification of Pop Art

its Reception from an Italian Perspective

Ginevra Addis

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English

European Press Academic Publishing
29 March 2021

The Pop Art phenomenon has been a subject of discussion for art critics, gallerists, collectors and the artists themselves since its first appearance in the '50s. Beginning in the '80s, a strong interest emerged in studying the current retrospectively, intending not only to define its spread in geographical and chronological terms, but also to identify which artists and single pieces of artwork could be labeled as 'Pop'. Despite the efforts made in describing the current, previous research has trivialized it to the point that the term 'Pop' has been misattributed and its features are not precise. It is within this framework that this book investigates the artistic fortunes of Pop Art in Italy, exploring whether what happened in Italy could be identified as such and especially focusing on the period between 1962 and 1964 (as well as the period immediately following).

By: Ginevra Addis
Imprint: European Press Academic Publishing
Dimensions: Height: 234mm, Width: 156mm, Spine: 21mm
Weight: 562g
ISBN: 9788883980879
ISBN 10: 8883980875
Pages: 404
Publication Date: 29 March 2021
Audience: General/trade , ELT Advanced
Format: Paperback
Publisher's Status: Active

Ginevra Addis obtained her Ph.D. in Analysis and Management of Cultural Heritage at IMT School for Advanced Studies, Lucca (IT) in December 2019. Since 2014, she has been collaborating with the Department of History, Archaeology and Art History - History of Contemporary Art Unit - at Università Cattolica del Sacro Cuore, Milan (UCSC). She has been an Adjunct Professor in the Master of Arts Management since 2017 and an Adjunct Professor of Contemporary Art Management in the Master of Economics, Arts and Entertainment since 2019 both at USCS. She published several contributions in Peer-reviewed Conference Proceedings, including Accademia University Press, ENCATC and Postmediabooks. From 2012 to 2014, Addis worked abroad within International Organizations such as The United Nations (NYC) and UNESCO (Paris). She also worked at several non-profit organizations including More Art (NYC) and as an art consultant for young contemporary artists.