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Page 1 of 12
Page 1 of 12
OG
OSART GALLERY
Milano
Medium
Condition
Good condition
Signature
Hand-signed by artist, On every lithograph
Frame
Not included
Established
Represented by industry leading galleries.
Selected exhibitions
2020
Freedom on paroleOSART GALLERY
2019
Equilibrium: An Idea for Italian SculptureMazzoleni
2017
Vincenzo Agnetti Beyond LanguageOSART GALLERY
View all
Collected by a major museum
Museum of Modern Art (MoMA)
Exhibitions
2016
Arte Internazionale del XX SecoloTAG TheArtGallery
2014
Frittelli Arte Contemporanea at miart 2014Frittelli Arte Contemporanea
Bruno Di Bello

Ketty La Rocca (1938-1976) ranked among the most important proponents of Conceptual and Body Art in Italy in the 1960s and 70s. Based on a visual poetry, she radically dealt with the socio-political limits of the meaning of language and images in her collages, performances and photographs. A central aspect is the examination of the bodily gesture as an “original means of communication”. A central work is her film “Appendice per una Supplica” (Appendix for a Petition), which was screened at the Biennale di Venezia in 1972: It shows a pair of male and female hands against a black background gesticulating an entire repertoire of possible meanings and interpersonal tensions. This experience of one’s own identity and corporeality in relation and demarcation to the “other” social space is also revealed in La Rocca’s typographic sculpture and photo series “J” (= I) from the late 1960s. Her typographic sculptures literally transfer the “I” to the “other” space. Her staged photographs depict the artist in interaction with her “J” sculpture. The monolog is staged outside of the own “I” in the “other” space, yet being part of the same one. In Ketty La Rocca’s words: “The you has already started at the border of my I.”

Collected by a major museum
Museum of Modern Art (MoMA)
Selected exhibitions
2020
Freedom on paroleOSART GALLERY
2019
This is my body, My Body Is Your Body, My Body Is the Body of the Wordle Delta
2014
Ketty La Rocca: The you has already started at the border of my IKadel Willborn
View all
Elio Mariani

Over the course of his career, Giulio Paolini became a prominent figure in both Arte Povera and Conceptual Art. Paolini was trained as a graphic designer, but would go on to work in sculpture, painting, and later, photography and collage. His early works reacted against his perception of the beauty of Art Informel, and focused instead on the material and formal components of painting, like the canvas and the frame. He was known at times to eschew the use of paint in favor of bare surfaces. Starting in the 1970s, his works became more conceptual, focused on the systems of creating and exhibiting art. Paolini also designed sets and costumes for theater, notably for director Carlo Quartucci, as well as Frederico Tiezzi’s versions of Richard Wagner’s operas.

Blue chip
Represented by internationally recognized galleries.
Collected by major museums
Tate, Museum of Modern Art (MoMA), S.M.A.K. Museum of Contemporary Art
Selected exhibitions
2021
Giulio Paolini, Fuori quadroAlfonso Artiaco
2019
Giulio Paolini: 1986-2010Krakow Witkin Gallery
2014
Giulio Paolini: To Be or Not to BeWhitechapel Gallery
View all

Claudio Parmiggiani produced his first "Delocazioni" in 1970, using powder, smoke, fire, soot, and ash to make imprints on paper and boards, a technique he has continued to mine for recent works on panel that depict veil-like forms of light, shade, and movement. In his collage, sculpture, installation, and photography, Parmiggiani explores ways of creating and manipulating images and objects, showing the influence of Giorgio Morandi, whose studio he frequented in the late 1950s, as well as Marcel Duchamp and Piero Manzoni.

Blue chip
Represented by internationally recognized galleries.
Collected by a major museum
Collezione Maramotti
Selected exhibitions
2021
Claudio ParmiggianiSimon Lee Gallery
2019
A lume spentoMeessen De Clercq
2017
New PleasureSimon Lee Gallery
View all
Exhibitions
2019
Intermedia. Archivio di Nuova ScritturaMart Rovereto Museo di Arte Moderna e Contemporanea di Trento e Rovereto
2017
Galleria il Ponte at miart 2017Galleria il Ponte
Selected exhibitions
2018
Mario Schifano : Compagni, compagni 1968The Mayor Gallery
2017
TV 70: FRANCESCO VEZZOLI GUARDA LA RAIFondazione Prada
2016
IMAGINE: New Imagery in Italian Art 1960-1969Peggy Guggenheim Collection
View all
Selected exhibitions
2020
Freedom on paroleOSART GALLERY
2018
PHOTOSEQUENCESOSART GALLERY
2014
Aldo Tagliaferro 70's. Verification of an exhibition 2.0OSART GALLERY
View all
Established
Represented by industry leading galleries.
Selected exhibitions
2020
Franco Vaccari - Migrazione del realeP420
2019
Intermedia. Archivio di Nuova ScritturaMart Rovereto Museo di Arte Moderna e Contemporanea di Trento e Rovereto
2017
SAGE Paris at Paris Photo 2017SAGE Paris
View all
Bruno Di Bello
Elio Mariani

Fotomedia, 1975

Lithography
27 3/5 × 19 7/10 in
70 × 50 cm
Edition of 100
.
€3,500
Ships from Milano, IT
Shipping: €200 within Continental Europe, €300 rest of world
VAT included in price
Location
Milano
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OG
OSART GALLERY
Milano
Medium
Condition
Good condition
Signature
Hand-signed by artist, On every lithograph
Frame
Not included
Established
Represented by industry leading galleries.
Selected exhibitions (3)
Collected by a major museum
Museum of Modern Art (MoMA)
Exhibitions (2)
Bruno Di Bello

Ketty La Rocca (1938-1976) ranked among the most important proponents of Conceptual and Body Art in Italy in the 1960s and 70s. Based on a visual poetry, she radically dealt with the socio-political limits of the meaning of language and images in her collages, performances and photographs. A central aspect is the examination of the bodily gesture as an “original means of communication”. A central work is her film “Appendice per una Supplica” (Appendix for a Petition), which was screened at the Biennale di Venezia in 1972: It shows a pair of male and female hands against a black background gesticulating an entire repertoire of possible meanings and interpersonal tensions. This experience of one’s own identity and corporeality in relation and demarcation to the “other” social space is also revealed in La Rocca’s typographic sculpture and photo series “J” (= I) from the late 1960s. Her typographic sculptures literally transfer the “I” to the “other” space. Her staged photographs depict the artist in interaction with her “J” sculpture. The monolog is staged outside of the own “I” in the “other” space, yet being part of the same one. In Ketty La Rocca’s words: “The you has already started at the border of my I.”

Collected by a major museum
Museum of Modern Art (MoMA)
Selected exhibitions (3)
Elio Mariani

Over the course of his career, Giulio Paolini became a prominent figure in both Arte Povera and Conceptual Art. Paolini was trained as a graphic designer, but would go on to work in sculpture, painting, and later, photography and collage. His early works reacted against his perception of the beauty of Art Informel, and focused instead on the material and formal components of painting, like the canvas and the frame. He was known at times to eschew the use of paint in favor of bare surfaces. Starting in the 1970s, his works became more conceptual, focused on the systems of creating and exhibiting art. Paolini also designed sets and costumes for theater, notably for director Carlo Quartucci, as well as Frederico Tiezzi’s versions of Richard Wagner’s operas.

Blue chip
Represented by internationally recognized galleries.
Collected by major museums
Tate, Museum of Modern Art (MoMA), S.M.A.K. Museum of Contemporary Art
Selected exhibitions (3)

Claudio Parmiggiani produced his first "Delocazioni" in 1970, using powder, smoke, fire, soot, and ash to make imprints on paper and boards, a technique he has continued to mine for recent works on panel that depict veil-like forms of light, shade, and movement. In his collage, sculpture, installation, and photography, Parmiggiani explores ways of creating and manipulating images and objects, showing the influence of Giorgio Morandi, whose studio he frequented in the late 1950s, as well as Marcel Duchamp and Piero Manzoni.

Blue chip
Represented by internationally recognized galleries.
Collected by a major museum
Collezione Maramotti
Selected exhibitions (3)
Exhibitions (2)
Selected exhibitions (3)
Selected exhibitions (3)
Established
Represented by industry leading galleries.
Selected exhibitions (3)
Other works by Vincenzo Agnetti
Other works from OSART GALLERY