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DEAL OF THE DAY

Santa Maria Novella, la Basilica e il Convento. I. dalla Fondazione al Tardogotico

Edited by De Marchi A.
Coordinamento scientifico di Carlo Sisi.
Campagna fotografi ca di Antonio Quattrone.
Firenze, 2015; bound, pp. 320, 450 col. ill., cm 25x33,5.
(Le Chiese di Firenze).
(Le Chiese di Firenze.).

cover price: € 50.00

Santa Maria Novella, la Basilica e il Convento. I. dalla Fondazione al Tardogotico

Total price: € 50.00 € 150.00 add to cart carrello

Books included in the offer:

Santa Maria Novella, la Basilica e il Convento. Volume 3. Dalla ristrutturazione vasariana e granducale ad oggi

Edited by Riccardo Spinelli and Spinelli R.
Illustrations by A. Quattrone.
Photographs by Quattrone Antonio.
Firenze, 2018; bound, pp. 355, 416 col. ill., cm 24x33,5.
(Le Chiese di Firenze).

FREE (cover price: € 50.00)

Santa Maria Novella, la Basilica e il Convento. Volume 3. Dalla ristrutturazione vasariana e granducale ad oggi

Santa Maria Novella, la Basilica e il Convento. Volume 2. Dalla Trinità di Masaccio alla Metà del Cinquecento

Edited by De Marchi A.
Firenze, 2018; bound, pp. 292, col. ill., cm 25x33,5.
(Le Chiese di Firenze).

FREE (cover price: € 50.00)

Santa Maria Novella, la Basilica e il Convento. Volume 2. Dalla Trinità di Masaccio alla Metà del Cinquecento

chiudi

Par Erreur. Mimmo Rotella Artypo

Carlo Cambi Editore

Firenze, FRITTELLI ARTE CONTEMPORANEA, December 18, 2010 - February 19, 2011.
Edited by F. Sardella.
Italian and English Text.
Poggibonsi, 2010; paperback, pp. 128, b/w and col. ill., tavv., cm 23x27.

ISBN: 88-6403-081-6 - EAN13: 9788864030814

Subject: Graphic Arts (Prints, Drawings, Engravings, Miniatures),Monographs (Painting and Drawing)

Period: 1960- Contemporary Period

Languages:  english, italian text   english, italian text  

Weight: 0.74 kg


In collaboration with Frittelli Arte Contemporanea gallery, Carlo Cambi Editore publishes the catalogue of "PAR ERREUR. Mimmo Rotella Artypo" exhibition by Mimmo Rotella. The show includes approximately fifty works realized by the artist during one decade.
From 1965, Rotella became interested in images grasped at their very origin, captured in the places where they were produced and manipulated even before being circulated: this gave rise to the Artypos. "I'd go to the printing works and pick up the test prints, the waste sheets. I'd swipe them away and then get them plasticised to give them a more technological look".
So, like the décollage, the Artypo too can be considered a theft - obviously you have to know how to steal; in the end, it is nothing more than an arguably legal appropriation of images produced by other people, stratified, laid one over the other. The definition of Artypo, coined by the artist like various others for the cataloguing of his work, comes from the combination of two words: Art and Typographies and only apparently refers to the possibility that these works are multiplied or multipliable products.

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