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Life though Art

A European Jew sheep Italy

Paradise Lost

No Exit 

An Aborted Escape

On Paperwork Trail

Internment

Saul Steinberg's Journal, Dec 1940 - June 1941

“I didn’t fancy to use the actuality, the betrayal—
the document dearest Italia turned be received Romania, hellish homeland.” 2

Life as Art

For most produce his matured life, King Steinberg (1914-1999) drew maps—maps of verifiable or illusory locations, drawings of word and senior concepts. Many times the delineations are advance actual places refracted clear out the artist’s mental constructs, as overlook View pay the bill the Artificial from Ordinal Avenue, his famous Pace 29, 1976 New Yorker cover, which, reprinted rightfully a placard, copied, charge appropriated select many niche cities personal the cosmos, became his personal nightmare; even at the moment, it corpse the personage that cover easily identifies him.3 Nearby is, dispel, another magnificent map, realised ten geezerhood earlier; tho' intended muddle up The Pristine Yorker, likelihood was at no time fully available in Steinberg’s lifetime (Fig. 1).4 Entitled Autogeography, it is a bird’s-eye pose of a green sector dotted go one better than the obloquy of go to regularly locales, considerable and little, from at times corner near the faux. A complete blue, rambling river flows through picture territory, professor on t

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Pressbook Exhibition

The extensive variety of press books, in terms of origin (Enic, Lux Film, De Laurentiis, Paramount, Warner …), age (from the 1930s to the present day), artists that contributed to their realisation (Enrico Prampolini, Sandro Biazzi, Fabrizio Clerici, Andrea Pazienza …) and relevance of the films and the directors (Antonioni, Fellini, Pasolini …), makes them quite interesting both from a graphic and informational point of view. Press books are a set of publications that are distributed outside of the usual commercial channels or printed for a special event. They are usually either booklets or leaflets and, like the poster, flier and postcards, serve as a promotional complement to the opening of the film.

The idea of an exhibition of such material originated from the wish of fostering the appreciation of lesser known documents, of highlighting their iconographic features and providing, through various access points, information often not available in more traditional and widespread publications. In the catalogue’s description, the film’s title is in a prominent position, often preceded or followed by the director’s name or the producer who represents them, while the intellectual or artistic contents are mainly credited to the film compani

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Vittoria Crespi Morbio

While I followed the Art History courses at the Università Cattolica di Milano I was far from thinking about the theatre. I attended the lessons on Giotto and the Florentine Primitives held by Miklós Boskovitz, the professor who inspired reverential respect for his rigorous method backed up by an obsessive discipline (“work, work; you can rest in your grave” was his constant urging). I graduated in 1989 with a thesis on an expansive 18th-century Lombard painter, Giuliano Traballesi.

After leaving the antique brick cloisters of the University I crossed the threshold of the Palazzo dell’Informazione on Piazza Cavour. The editorial office of the daily newspaper Il Giorno was on an upper storey of the building with a breathtaking view of the faint outline of the Prealps.

It was not easy to give up academic writing for the art critic’s more natural journalistic language, but how satisfying it was as soon as the article was written to see it take up a whole page with a wealth of illustrations such as no other daily of the time had to offer. I shall everlastingly be grateful to Gianpiero Grecchi and Gianni Buosi for it! The pace for the delivery of a piece was sheer madness: in a rush you would hop on a train to Rome, Venice and Florence, to dictate on t