Introduction: Meshworks and NetworksSculptural MaterialityAction and Circulation in Postwar Italy1. Reflective Acts: Yayoi Kusama in Venice"Sideshow" Sculpture and the XXXIII Venice BiennalePhotographic MirrorsSelf, Sculpture, and PhotographRemnants and Residuum2. With Time Action: Michelangelo Pistoletto in TurinMirror Images and Minus ObjectsCon temp l'azioneThe City as MaterialFrom the Street to the Cage3. Slow Dissolves: Robert Smithson in RomeExhibiting ProcessThe Flow of SculpturePhotography is ActionThe Age of Conceptualism4. The Sculptural Arena: Joseph Beuys in NaplesThe Mediterranean SituationTransmittersBetween Image and ObjectSculpture as MultipleConclusion: Material DispersionsRecreations and ReplicasInert Monuments and Enlivened Objects
Marin R. Sullivan is Assistant Professor of Art History, Department of Art, Keene State College, USA.
"While the book addresses one Italian artist, Pistoletto, it underscores the radical artistic subculture in Italy during this period. Moreover, it demonstrates that the tension between materiality and immateriality that ran through arte povera yielded a welcome environment for international artists wishing to undertake such projects as well as a support system for their patronage, realization, documentation and photography." -Rosalind McKever, Art History