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This publication accompanies the exhibition at the Fondazione Prada, Milano and is presented as a retrospective that gathers over 100 works, created by Domenico Gnoli (Rome, 1933 – New York, 1970) from 1949 to 1969, as well as an equal number of his drawings. A chronological and documentary section, including historical materials, photographs and other supports, contributes to trace Gnoli’s life and artistic career more than fifty years after his death. The research behind the project conceived by Germano Celant was developed in collaboration with the artist’s archives in Rome and Mallorca, which preserve Gnoli’s personal and professional heritage. This retrospective is part of the series of exhibitions that Fondazione Prada has dedicated to artists—such as Edward Kienholz, Leon Golub and William Copley—whose practice developed along paths and interests that took a different direction from the main artistic trends of the second half of the 20th century. The aim is to explore Gnoli’s practice and his activity as a unique discourse free of labels, documenting links with the international cultural scene of his time and highlighting affinities with contemporary visual research. Furthermore, “Domenico Gnoli” will expand on the insights of those who, in the past, interpreted the artist’s work from an original historical and critical viewpoint, recognizing the inspiration that he drew from the Renaissance and highlighting the narrative value of his works.

Gnoli, Domenico

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Uneasy Dancer brings together over 80 works including installations, assemblages, collages and sculptures by the pioneering Los Angeles artist Betye Saar (born 1926) produced between 1966 and 2016. This handsomely designed volume presents Saar’s work as a copiously illustrated timeline, with numerous documentary images and exhibition details.

“Uneasy Dancer” is an expression Saar has used to define both herself and her artistic practice: “my work moves in a creative spiral with the concepts of passage, crossroads, death and rebirth, along with the underlying elements of race and gender.” Through her use of found objects, personal memorabilia and derogatory images that evoke denied or distorted narratives, Saar developed a powerful social critique that challenges racial and sexist stereotypes deeply rooted in American culture.

Sculpture --- installation artists --- assemblage artists --- African American --- collagists --- Saar, Betye