Mimmo Rotella, ‘A Tribute to Marilyn’, Deodato Arte

The Rotella tecnique, is veri particular: it consist in tearing two or more poster glued one to the other. The final result is a seridecollages.
There is a more sophisticated Marilyn Monroe in this Mimmo Rotella's seridécollages torn by hand. A sober look, thanks to the photographer Milton Greene, who suggested to the diva a more natural way to introduce herself. The years of New York are the best for Marilyn, in which she was married to the writer Arthur Miller and consequently frequented a more intellectual environment. Marilyn Monroe is reinventing herself, leaving the colorful dresses, sequins and flashy makeup for sober clothes but suggestive, and for a transparent make up.

Signature: Signed by the Artist and Stamped by Mimmo Rotella Foundation

About Mimmo Rotella

Mimmo Rotella, who represented Italy in the 1964 Venice Biennale, was experimental to his core: in his poetry, paintings, photographs, sculptural assemblages, and collages, he broke down conventions, leaving behind a body of extravagant work. He began as a painter of geometric abstractions in the early 1950s, then turned away from his studio and toward the world around him. There he found weathered movie and advertising posters, which he would tear off the walls, affix to canvases, and rip further to develop semi-abstract compositions out of mass media imagery, which he called “double décollages.” Through his collages, he became associated with Raymond Hains, Jacques Villeglé, and François Dufrêne—together known as Les Affichistes. Rotella was also linked to the French Nouveau Réalistes, for reflecting commodity culture, and its excesses and absurdities, in his art.

Italian, 1918-2006, Catanzaro, Italy