reviews

  • Michelangelo Antonioni

    Galleria Nazionale D’Arte Moderna

    As a filmmaker Michelangelo Antonioni is no stranger to the seductions of painting—one need only think of The Red Desert (1964), in which Antoni Tapiès’ fashion of painting with real objects was crossed with the chromatic palette of certain Pop artists (John Chamberlain, Richard Hamilton) and certain nouveaux réalistes (Christo, Arman, César). Photography has also interested the director, to the point of his basing a film on the process—Blow-Up (1967), in which the photograph reveals a micro-reality of violence, and also of explanation and discovery, beneath the macro-reality of appearances.

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