Francesco Stocchi

  • picks February 24, 2005


    In this enlightening show, thirteen carefully selected works dated from 1982 to 2005 trace the development of Italian artist Nunzio—whose single name is widely recognized in Italy, but less well-known elsewhere. Nunzio's sculptures are meticulously created—every aspect of their production is precise and controlled; even when, on rare occasions, chance is welcomed into the process, its role is narrow and defined. In spite of this, the artist has always retained a spontaneous approach to his eclectic materials (clay, wood, lead, steel). Their chromatic qualities, specific weights,

  • picks November 19, 2004

    Sergio Ragalzi

    Sergio Ragalzi's expressive language is radically pared-down, which is exactly what gives it its immediacy and power. He uses rough, coarse materials and a limited palette, balancing on a thin line between the heritage of African art and the iconography of horror movies and fantasy comics. Both painting and sculpture are integral parts of the Turin-based artist's practice; in his current show at this new contemporary art space, he offers both. Visitors are greeted on the ground floor by three large-scale canvases depicting luminous, frightening-looking white monkeys who seem to be wearing death

  • picks November 04, 2004

    Vera Lutter

    "The excitement over a possible image drives me, whereas the scale of my aspiration intimidates me.” Vera Lutter’s own words offer the clearest explanation of her work. The aspiration to which she refers is the defiance of time. Early in her career, she adopted an unusual and largely obsolete piece of equipment, the camera obscura, in which light passes through a tiny aperture into a darkened chamber, forming an inverted projection of the scene outside. Lutter uses oversized sheets of photographic paper in hers, developing negative images over the course of hours, or even days. The results are

  • picks October 06, 2004

    Sally Mann

    Sally Mann's multipart project “What Remains,” composed of several discrete series of photographs, explores mortality and the relationship between body and soul with the same mixture of unsettling bluntness and lyrical, almost Gothic beauty that characterized her earlier pictures of her children. At Karsten Greve, one of the series—“Last Measure,” twenty-seven black and white large-format pictures—is now on view. “Last Measure” focuses on Civil War battlefields, somber landscapes charged with deep historical meaning. Subtly balancing aesthetic and documentary considerations, the dark,

  • picks June 17, 2004

    Brian McKee

    Situated in the heart of the Ghetto, Rome’s oldest neighborhood, Valentina Bonomo Arte Contemporanea hosts young American artist Brian McKee’s first show in Italy. It’s an appropriate location, since, for the last five years or so, McKee has been traveling the world taking pictures of ruined buildings and landscapes that resonate with historical significance. Here he presents images from “Detritus,” a series shot in Afghanistan in September 2002, and “Reconstruction,” shot in Uzbekistan the following year. The prints are large enough (about fifty by sixty inches) to make you feel as if you could