With more than 360 pieces ranging from manifestos and furniture to paintings and posters, the survey showcases broad visions and stylistic evolution, from fractured spaces and machine aesthetics (arte meccanica) to the more streamlined aeropittura of the ‘30s. Pieces like a mural from a Palermo post office and a dining room set by Gerardo Dottori show how “the aesthetic was always evolving,” according to Greene.
Greene especially likes the ceramic pieces filled with small details and timely references, such as the spirals from an aeronautical-themed plate, celebrating the country’s then current obsession with flight. A sun-shaped anti-pasta set from Bruno Munari features an array of brightly illustrated exotic animals, a nod to Italy’s excitement over its then-expanding overseas colonies, and a coffee service from Balla exhibits bright colors and abstract shapes. “There’s a wonderful sense of intimacy with that piece,” Greene says. “You can really imagine yourself using them.”
Up through September 1, Italian Futurism, 1909–1944: Reconstructing the Universe at the Guggenheim showcases several pieces never seen outside of Italy.
During the course of his career writing about music and design, Patrick Sisson has made Stefan Sagmeister late for a date and was scolded by Gil Scott-Heron for asking too many questions. His work has appeared in Pitchfork, Nothing Major, Wax Poetics, Stop Smiling and Chicago Magazine.
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