Within the universe of Julie Aults workin the dozens of exhibitions staged as a member of the collective Group Material, pages written on her artistic heroes, and histories recorded on alternative and hard-to-categorize creative practiceschronologies and an accompanying interrogation of the structures that guide them are perennial matters of concern.
Prepare to be astonished. How on earth, you wonder, can a Scot woman poet and collagist possessed of an overcomingly remarkable imagination, combined with an intense involvement in Scottish history, Dante, the Victorian Romance novel and art, and in really weird animals in various beings and doings, fit so perfectly, no matter how oddly, into the San Francisco Renaissance? Prepare to meet Helen Adam.
Early on Giorgio Morandi was a familiar, but marginal figure within Italian Futurism, who by the time of his death occupied only a modest place in modernist collecting culture. Thanks to important historical work by Janet Abramowicz in Giorgio Morandi: The Art of Silence (2005), we have a reliable account of Morandis life. To this growing corpus, we can now add the perspectives of other contemporary artists collected in Zwirner Bookss Giorgio Morandi: Late Paintings.
In 1915, as a newly admitted member of the Italian Futurist movement, Fortunato Depero along with Giacomo Balla set out to reconstruct the universe, cheering it up and recreating it entirely. For Depero, this meant a lifelong output typifying a truly modern life.