Mario Merz, ‘From Continent to Continent’, 1985, Sculpture, Steel, glass, neon, clay, and metal cables, Hirshhorn Museum and Sculpture Garden
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Mario Merz

From Continent to Continent, 1985

Steel, glass, neon, clay, and metal cables
66 × 135 × 135 in
167.6 × 342.9 × 342.9 cm
Want to sell a work by this artist? Consign with Artsy.
HMS
Hirshhorn Museum and Sculpture Garden
Washington

Collection: Hirshhorn Museum and Sculpture Garden, Washington DC

Medium
Image rights
Photo: Cathy Carver
Mario Merz
Italian, 1925–2003
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A key member of the Arte Povera group, Mario Merz produced expansive mixed-media paintings, sculptures, and installations, through which he propagated an egalitarian, human-centered vision. Through art, he counteracted what he saw as the dehumanizing forces of industrialization and consumerism. Together with compatriots including Jannis Kounellis and Michelangelo Pistoletto, Merz eschewed fine art materials in favor of everyday and organic matter, like food, earth, found objects, and neon tubing. In 1968, he presented his first igloo, which became a motif in his work, representing the fundamental human need for shelter, nourishment, and connection to nature. By 1970, the Fibonacci sequence became central to his work, shaping the tables and spiraling forms for which he was known, and incorporated into his igloos and canvases. In these Merz sought limitlessness, against the confines of modern life.

Mario Merz, ‘From Continent to Continent’, 1985, Sculpture, Steel, glass, neon, clay, and metal cables, Hirshhorn Museum and Sculpture Garden
Save
Save
Share
Share
HMS
Hirshhorn Museum and Sculpture Garden
Washington

Collection: Hirshhorn Museum and Sculpture Garden, Washington DC

Medium
Image rights
Photo: Cathy Carver
Mario Merz
Italian, 1925–2003
Follow

A key member of the Arte Povera group, Mario Merz produced expansive mixed-media paintings, sculptures, and installations, through which he propagated an egalitarian, human-centered vision. Through art, he counteracted what he saw as the dehumanizing forces of industrialization and consumerism. Together with compatriots including Jannis Kounellis and Michelangelo Pistoletto, Merz eschewed fine art materials in favor of everyday and organic matter, like food, earth, found objects, and neon tubing. In 1968, he presented his first igloo, which became a motif in his work, representing the fundamental human need for shelter, nourishment, and connection to nature. By 1970, the Fibonacci sequence became central to his work, shaping the tables and spiraling forms for which he was known, and incorporated into his igloos and canvases. In these Merz sought limitlessness, against the confines of modern life.

Mario Merz

From Continent to Continent, 1985

Steel, glass, neon, clay, and metal cables
66 × 135 × 135 in
167.6 × 342.9 × 342.9 cm
Want to sell a work by this artist? Consign with Artsy.
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