Table of Contents

Introduction: Meshworks and Networks

Sculptural Materiality

Action and Circulation in Postwar Italy

1. Reflective Acts: Yayoi Kusama in Venice

"Sideshow" Sculpture and the XXXIII Venice Biennale

Photographic Mirrors

Self, Sculpture, and Photograph

Remnants and Residuum

2. With Time Action: Michelangelo Pistoletto in Turin

Mirror Images and Minus Objects

Con temp l’azione

The City as Material

From the Street to the Cage

3. Slow Dissolves: Robert Smithson in Rome

Exhibiting Process

The Flow of Sculpture

Photography is Action

The Age of Conceptualism

4. The Sculptural Arena: Joseph Beuys in Naples

The Mediterranean Situation

Transmitters

Between Image and Object

Sculpture as Multiple

Conclusion: Material Dispersions

Recreations and Replicas

Inert Monuments and Enlivened Objects

About the Author

Marin R. Sullivan is Assistant Professor of Art History, Department of Art, Keene State College, USA.

Reviews

"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