Overview

Pier Paolo Pasolini (1922-1975) remains best known for his influential cinematic and literary works. These attest in turn to a crucial early formation: Pasolini's intermittent practice as a painter, critic, and historian of art. Spanning the fifth-century BCE to the early twenty-first century, this volume's chapters reflect the breadth of Pasolini's aesthetic commitments and predilections, from Greek Attic vase painting to the to the spread of Caravaggism; from folkloric ethnography to the painting of Pablo Picasso and Andy Warhol. Alongside essays examining his influence on twentieth- and twenty-first century aesthetics, artists of different nationality, gender, and generation address Pasolini's continued consequence for their own work. The very notion of a politically engaged artistic practice owes a debt to Pasolini's oeuvre one he called ""extravagantly interdisciplinary,"" and which finds incisive reflection in the media, methods, and subjects addressed in these pages.

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9781526186140

Table of Contents

Reviews

‘Gathers together a raucous, sharp, and kaleidoscopic cast of art historians, literary scholars, practicing artists, and filmmakers to assess not only how Pasolini’s oeuvre was nuanced by his study of art and its multiple histories but, more urgently, how art history can be revitalized through its critical engagement with Pasolini. Essential reading for anyone invested in the political and philosophical potentiality of the image.’ —Prof. Maria Loh of the Institute for Advanced Study at Princeton -- .

'Gathers together a raucous, sharp, and kaleidoscopic cast of art historians, literary scholars, practicing artists, and filmmakers to assess not only how Pasolini's oeuvre was nuanced by his study of art and its multiple histories but, more urgently, how art history can be revitalized through its critical engagement with Pasolini. Essential reading for anyone invested in the political and philosophical potentiality of the image.' -Prof. Maria Loh of the Institute for Advanced Study at Princeton '""I am a force of the Past,"" Pasolini notoriously insisted-except he had his poem-manifesto recited by Orson Welles in a contemporary film, La Ricotta. This book faces Pasolini's extraordinary untimeliness head-on, excavating the true depth of his knowledge of art history while simultaneously mapping how his example continues to inspire contemporary culture. To use a term dear to Pasolini, this volume ""contaminates"" both art history and contemporary art to exciting effect.' -George Baker, Walter Hopps Chair in Modern and Contemporary Art, Professor and Chair, Department of Art History, UCLA

‘Gathers together a raucous, sharp, and kaleidoscopic cast of art historians, literary scholars, practicing artists, and filmmakers to assess not only how Pasolini’s oeuvre was nuanced by his study of art and its multiple histories but, more urgently, how art history can be revitalized through its critical engagement with Pasolini. Essential reading for anyone invested in the political and philosophical potentiality of the image.’ —Prof. Maria Loh of the Institute for Advanced Study at Princeton ‘“I am a force of the Past,” Pasolini notoriously insisted—except he had his poem-manifesto recited by Orson Welles in a contemporary film, La Ricotta. This book faces Pasolini’s extraordinary untimeliness head-on, excavating the true depth of his knowledge of art history while simultaneously mapping how his example continues to inspire contemporary culture. To use a term dear to Pasolini, this volume “contaminates” both art history and contemporary art to exciting effect.’ —George Baker, Walter Hopps Chair in Modern and Contemporary Art, Professor and Chair, Department of Art History, UCLA -- .

Author Information

Ara H. Merjian is Professor of Italian Studies at New York University.

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