Guiseppe Penone for the holidays, (hint, hint), wonderful selections from Gagosian’s rare book dealer, Doug Flamm

by leslierankowfinearts

Giuseppe Penone, Essere fiume 7 (To Be a River), 2000 River stone and quarry stone of white Carrara marble, in 2 parts, each: 18 ⅞ × 29 ½ × 24 ⅞ inches (48 × 75 × 63 cm), installed at Whitechapel Gallery, London, September 4, 2012–October 27, 2013© Archivio Penone

Giuseppe Penone, Essere fiume 7 (To Be a River), 2000

River stone and quarry stone of white Carrara marble, in 2 parts, each: 18 ⅞ × 29 ½ × 24 ⅞ inches (48 × 75 × 63 cm), installed at Whitechapel Gallery, London, September 4, 2012–October 27, 2013

Essere fiume (To be a River, 1981) marked an important turning point in Penone’s practice. Extracting chunks of stone or marble from the source of a river, he carved them so that they resembled the smaller, smoother stones at the bottom of the riverbed, mimicking the effects of water on the rocks’ shape and size.

© Archivio Penone

Giuseppe Penone
Matrice

ONE OF THE MOST COMPELLING INTERNATIONAL ARTISTS WORKING TODAY IS GIUSEPPE PENONE. BORN IN A SMALL TOWN NEAR TURIN, HE STUDIED AT THE ACCADEMIA DI BELLE ARTE AND WAS EXPOSED TO A VARIETY OF POST-WAR ART DURING HIS EARLY TWENTIES AND SOON BECAME A MEMBER OF THE YOUNGER GENERATION OF ARTE POVERA ARTISTS. THE TRAJECTORY OF HIS CAREER CONSISTENTLY REVEALS A DEEP CONCERN WITH THE RELATIONSHIP BETWEEN MAN AND NATURE. HE WALKED INTO THE WOODS AND BECAME AN ARTIST WHOSE FOCUS IS THE TRANSFORMATION OF NATURAL ELEMENTS INTO CONCRETE VISUAL, TACTILE PHYSICAL EXPERIENCES. HIS UNREMITTING DEVOTION TOWARDS NATURE AND ITS TRANSFORMATIVE POWERS, UNDERLINED BY HIS TRANSFORMATION OF NATURE ITSELF, SPEAKS TO US TODAY.

Throughout his fifty-year career, Giuseppe Penone has employed a wide range of materials and forms in an exploration of the fundamental language of sculpture. A protagonist of Arte Povera, Penone explores respiration, growth, and aging—among other involuntary processes—to create an expansive body of work including sculpture, performance, works on paper, and photography.

Penone’s early performance-based works evolved in direct response to the forests near his native village of Garessio, Italy, where he interacted with trees, water, and marble. In the Alpi Marittime (Maritime Alps) works (1968), his gestures and interventions left physical traces over extended periods of time: tree trunks were distorted by copper wire, stones, and bronze casts of the artist’s hand; mechanisms made of ropes and deer hides reacted to the weather; and casts of Penone’s face, hands, and feet were immersed in a stream bed.

Giuseppe Penone
Trees (Alberi)

In 1969 Penone created the first of his Alberi (Trees): “stripped” trees made by carving into mature timbers and removing the wood along the outer growth rings to reveal the memory of a sapling at the core of the trunk. This ongoing series has taken on various permutations as Penone refines his techniques and experiments with different sizes and installations. In 1970 he even carved an Albero in the presence of an audience, merging sculpture and performance. This same year he made the Rovesciare i propri occhi (Reversing One’s Eyes) works, in which he wore custom-made mirrored contact lenses and had himself photographed. The lenses, though they deprived the artist of his own gaze, allowed him to objectively record images, literally reflecting his surroundings.

https://gagosian.com/artists/giuseppe-penone/

REPRESENTED BY GAGOSIAN GALLERY, GAGOSIAN SHOP AT 976 MADISON CURRENTLY HAS SOME EXCEPTIONAL BOOKS AND ETCHINGS ON GIUSEPPE PENNONE ON DISPLAY FOR THE HOLIDAYS. THE WORK ITSELF SPEAKS OF BOTH THE TEMPORAL AND THE ETERNAL AND ARE AS UNIQUE AND EMOTIVE AS ANY ARTIST THAT COMES TO MIND. THE BOOKS REFLECT THIS AESTHETIC BEAUTIFULLY.

GIUSEPPE PENONE

The Inner Life of Forms

Includes Essays by Tim Ingold, Remi Labrusse, Emily Braun, Salvatore Settis, and a conversation with Carlos Basualdo and Guiseppe Penone

Giuseppe Penone The Inner Life of Forms Gagosian Shop 976 Madison Avenue, New York

In the 1990s Penone worked on the Anatomie (Anatomies, 1992–), which included Carrara marble and other stones carved in high relief to echo vascular and muscular systems, as well as the Propagazioni (Propagations, 1995), a series of drawings based on the concentric linear patterns of a fingerprint. Since then he has continued to expand upon many of his earlier series and to work on the Idee di pietra (Ideas of Stone) sculptures (2003–), in which he juxtaposes rocks and trees to highlight the balance between verticality and horizontality and the interplay of gravity and growth. Penone has also designed two gardens, one in Turin and one in the Reggia di Venaria in Piedmont.

In Penone’s work, sculptural transformations draw the viewer’s attention to details that have long existed but are easily overlooked. By bringing the grandeur—as well as the modesty and intimacy—of raw but also cultural material into various settings, Penone raises questions about sculpture and its essence.

Giuseppe Penone
Identity
Etching

Giuseppe Penone

Identity

Identity is accompanied by a special edition cover of the monograph, Giuseppe Penone: The Inner Life of Forms and an archival folder with an original poem written by the artist.

The black version of Identity comes in an edition of 50

The prints are Drypoint etching on BFK Rives paper, printed by Atelier René Tazé, Paris, and published by Gagosian 2018

Etching size: 13 3/8 × 9 7/8 inches (34 × 25 cm)
Paper size: 19 7/8 × 15 1/8 inches (50.5 × 38.2 cm)

Choice of presentation options:

Custom designed, cloth covered clamshell box that includes archival inner folder to house print and special edition of the monograph

Framed print (white wood), archival folder, and special edition of the monograph

———-

About the monograph:

Giuseppe Penone
The Inner Life of Forms

Published in 2018

Essays by Tim Ingold, Rémi Labrusse, Emily Braun, and Salvatore Settis; Conversation between Giuseppe Penone and Carlos Basualdo; Biographical Notes by Ruggero Penone; 12 Booklet Essays by Daniela Lancioni

11 × 8 5/8 inches (27.9 × 21.9 cm); 13 paperbacks totaling 490 pages, in a box; Fully illustrated

Published by Gagosian; Designed by Graphic Thought Facility, London; Printed by Pureprint Group, Uckfield, UK; Distributed by Rizzoli International Publications, Inc., in association with Gagosian

WHAT A TREASURE TO GIVE OR TO GET AT ANY TIME OF YEAR.  THANK YOU, DOUG, FOR SHARING THIS WITH THE LRFA BLOG.

MORE TO FOLLOW!