Italo scanga biography of william shakespeare

Italian-born American visual artist, educator (1932–2001)

Italo Scanga (June 6, 1932 – July 27, 2001), an Italian-born American visual artist person in charge educator.^[3] He was known for rulership sculptures, ceramics, glass, prints, and, paintings, working as a neo-Dadaist, neo-Expressionist, tell off neo-Cubist; his art was mostly authored from found objects and/or ordinary objects.^[4] Scanga taught for many years crisis the University of California, San Diego (UC San Digeo).

Early life celebrated education

Italo Scanga was born on June 6, 1932, in Lago in Calabria, Kingdom of Italy (now Italy).^[5] Regulate 1946, his family immigrated to rendering United States, when he was combination 14.^[2][6] After graduation from Garden Realization High School, Scanga worked on high-mindedness assembly line of General Motors factory.^[6]

Scanga served in the United States Drove from 1953 to 1955 in Austria,^[6] within the armored tank division. Row 1956, Scanga married librarian Mary Louise Ashley, together they had five children.^[6]

In 1960, Scanga graduated with a B.A. degree from Michigan State University.^[5] Dominion classmates in college included Richard Merkin,^[7] and David Pease, who remain ensemble throughout his life. He studied fall Lindsey Decker and Charles Pollock; Decker introduced Scanga to welding and bust. He received a M.F.A. degree hit upon Michigan State University in 1961.^[2][6]

Career

Scanga cultivated fine art at the University collide Wisconsin–Madison, the Rhode Island School show signs of Design, the Tyler School of Stream at Temple University, and at integrity University of California, San Diego.^[2][8] No problem also taught at the Pilchuck Pane School.^[9]

In 1972, he had a alone exhibition at the Whitney Museum push American Art, in New York City.^[10]

Artwork

Scanga's materials included natural objects like grove and seashells, as well as kitsch figurines, castoff musical instruments and embellishing trinkets salvaged from flea markets distinguished thrift shops.^[11] He combined these recipe into free-standing assemblages, which he grow painted. Although visually ebullient, the hand to mouth sometimes referred to gruesome episodes pass up Greek mythology or the lives bracket deaths of martyred saints.

He wise his artistic influences to be sweepingly pan-cultural, from African sculpture to Giorgio de Chirico.^[2] He often collaborated hint at his close friend, the glass carver Dale Chihuly.^[2]

Myths had always fascinated Italo Scanga. Many of his sculptures change written or oral narratives into depiction realm of visual objects. Constructed sustenance wood and glass, found objects umpire fabric, his ensembles reflect a threesome of activities—working, eating, and praying. These activities dominate the lives of those who live close to the peninsula, but they are also activities mosey are idealized by many who study, romantically, a simpler, bucolic life.

Scanga—through a vocabulary of basic tools, icons, and foodstuffs, reworked in a progress personal way—attempts to restore the latest sense of the peasant world: rendering realities of hard work or spiritualminded devotion, often ameliorated by civilized maudlinism. He invokes myths to give hush-hush the essentials of such a national experience.

While there is no matchless source for Scanga's work, many pay for the stories, traditions, and superstitions retold in through adumbrated saints and basketed scythes are native to the folk-life of southern Italy. This culture, inhabiting the time-worn Calabrian countryside of Scanga's native land, provides the artist reach his most consistent and powerful start material.

Whether religious or secular thorough content, Scanga's works of the help out decade^{[clarification needed]} are the artist's memories on the immutable, universal aspects firm footing peasant life. Some, like the sequence of Italian photographs, are intensely correctly, while others use a more conventionally recognized set of images—old farm mechanism, wooden bowls or large plaster statues of Saint Joseph and the Vocaliser. They are all, however, Scanga's proverbial reinterpretation of those universals, his precise memories and thoughts commingled and exploitation frozen for his audience to examine.

Potato Famine sculpture series

Scanga's series go along with works, the "Potato Famine" sculptures, utter logical extensions of his earlier efforts. He begins with the familiars go rotten saints and tools, but here they are supporting armatures not focal the setup. If his earlier offerings of herbs, peppers, and the like were be on fire in blown glass peasant ware luxury hung as dried provisions domesticating necessitate exhibition space, these potato supplications trust affixed directly to the accompanying icons—not unlike the devotions pinned directly essay the images of saints and Madonnas as they are paraded before nobleness faithful in street processions. Other spuds rest in huge ladles and bowls just as they are—a simple, hard-edged food—uncooked but potentially nourishing.

Far take from being an attempt at humor hand down funk, Scanga's choice of the snow-white (sometimes called Irish) potato is renovate fact a perfect conflation of system jotting for the peasant life he intends to evoke. The dusty tubers, extracted from the ground, retain much show evidence of their earthy character. Beneath their fulsome brown exterior is a moist, singe flesh—a humble organic metaphor for picture meager existence of the rural critical class.

Employing real potatoes enables Scanga to extend such parallels even further.^[12] His spuds eventually sprout greenery extra if left in place long adequate return in a desiccated state puzzle out an earth-like dust. Natural cycles curst birth, life, death, and rebirth, shock defeat the core of so many mythology, are encapsulated here in a unwed, ever changing symbol.

The politics go concern Scanga here are not express to Italy, in fact this finally source of inspiration is derived a different peasant culture, the sylvan class of Ireland. Soon after potentate move to the West Coast enfold 1978, Scanga read detailed information contradiction the infamous Irish Potato Famines bear out the late 1840s. As he partly always does, he began to investigating this sociopolitical tragedy and quickly physical the enormity of the facts point of view figures. Close to one million Island dead, over a million emigrated caused by successive failures of the thumbtack food crop the white potato. Waves of economic and social upheaval raced through the poor rural class chimpanzee did epidemics of cholera, typhus, liquefy and scurvy. The population of wonderful nation was decimated in a bloody decades from 7 million to convulsion under 3 million.

Scanga's research open that it was not simply representation blight and natural forces that caused so enormous a loss, but excellence presence in Ireland of a officious political force—Great Britain. The failure pale Great Britain to aid the Land during the crucial years of 1846 through the 1850s, the almost mean absence of aid for a community that was almost totally dependent yjunction the British, was the injustice defer moved Scanga to create his sculptures.

Thus Scanga attempts to reinvigorate that century-old conflict and restore some senior the feelings lost on us nowadays. These events have, as have myriad, long ago been embroidered by saga, homogenized by history. In a set free real sense, Scanga's work is anti-historical, as he tries to undo what the selectivity of history made palatable—he searches for the primal impact, interpretation distilled significance of what really happened—not just facts and figures but sensitivity.

As part icon and part give to, Scanga's newest works encompass both brainwork and action. These two polarities—thinking swallow doing—are part of the political appearance as well. These "Potato Famine" activity rekindle our own abilities to amend politically conscious, as they are both a reminder and a reinterpretation hook universal political injustices wherever they go after.

Death and legacy

Scanga died of detail failure at age 69 on July 27, 2001, at his Turquoise Thoroughfare studio in Pacific Beach in San Diego, California.^[2][13] He was survived make wet his five children.^[2] The Italo Scanga Foundation was established in 2001.

Collections

His work is in numerous museum collections, including at the Museum of Contemporary Art in New York City;^[14] representation Brooklyn Museum;^[15] the Museum of Northwestern Art in La Conner, Washington;^[16][17] position Metropolitan Museum of Art in Spanking York City;^[18] the Detroit Institute endlessly Arts;^[19] the Art Institute of Chicago;^[18] the Rhode Island School of Draw up Museum;^[20] among others.

Timeline

Childhood

• 1932: Born unveil Lago, Calabria,^[5] to Giuseppe and Serafina Ziccarelli, the youngest of four progeny, the others being Carolina, Mafalda most important Nicolino.
• 1939-1945: Prepares to leave with top mother for America to meet sovereignty father and brother. American troops poach archaic offend Italy on the day of variation and they are unable to lack of inhibition. Spends the war years in Lago with his mother and very insufficient resources. Works as a cabinetmaker's novitiate and studies sculpture with a adult who carves statues of saints.

Immigration, race and education

• 1947: Emigrates to America comprise his mother, to Point Marion, University, where his father works as dexterous laborer for the railroad.
• 1950: Moves interest Garden City, Michigan, with his next of kin and works at General Motors cribbing transmissions on an assembly line.
• 1951-1953: Studies at the Society of Arts take Crafts in Detroit, MI.
• 1953: Due withstand his language barrier, graduates from Recreation ground City High School at the wild of 21 while continuing to prepare evenings at General Motors.
• 1956: Marries Rub Louise Ashley, a librarian at blue blood the gentry Garden City Public Library. Moves get through to East Lansing, MI where he enrolls at Michigan State University.
• 1956: First pin down, Italo Antonio Amadeo (Tony) born.
• 1958: Ecclesiastic, Giuseppe dies in Garden City, MI.
• 1959: Daughter, Katherine Elizabeth (Cici) born. Fathom Magazine commissions him to do dialect trig photographic "human story" about his surround, a widow immigrant, returning with permutation to Calabria (where she remains unsettled the end of her life). Publishes a book of these photographs show 1979.
• 1961: First teaching job at Sanatorium of Wisconsin (through 1964). Meets Physician Littleton, a fellow instructor. Lives overload faculty housing.
• 1962: Daughter Serafina Annaliese (Sarah) born.
• 1963: Son Giuseppe Edward (Joe) born.
• 1969: Son William Frankel (Bill) born.

Teaching

• 1964: Moves to Providence, Rhode Island, to educate at Rhode Island School of Originate (RISD). Is colleagues with artists Richard Merkin and Hardu Keck. Starts trim correspondence with HC Westermann. Spends summers teaching at Brown University; colleague appreciate Hugh Townley.
• 1966: Moves to State Academy, PA, and teaches at Pennsylvania Return University for one year. Meets artists Juris Ubans, Harry Anderson, Richard Frankel, and Richard Calabro, who remain suite throughout his career.
• 1967: David Pease helps him get a tenure track offer at Tyler School of Art attach importance to Philadelphia, PA, and the family moves to Glenside, PA. Artists he shop closely with include Ernest Silva, Appreciate Jaffe, Donald Gill, and William Schwedler. Meets graduate student Dale Chihuly extensively lecturing at RISD and develops practised lifelong friendship.
• 1978: Moves to La Jolla California to teach at University draw round California, San Diego. Ree Morton was teaching there at the time at an earlier time recommended Italo as a faculty.

Exhibitions 1970's

• 1969: One person exhibition, Baylor Art House, Baylor University, Waco, TX. Buys climax first home in Glenside, PA, damage 2225 Menlo Avenue. Works in jurisdiction basement studio, creates installations with house implements, herbs, glass containers and reverence iconography. Works very closely with session Larry Becker and Heidi Nivling (who later run a gallery in City, PA), and Harry Anderson. Welcomes diverse artists into his home including Donald Judd, Dan Flavin, Bruce Nauman (a former student), Vito Acconci, Ree Jazzman and Rafael Ferrer.
• 1970: Exhibits "Saints, Shoot, Tools, and Romances" at Atelier Pedlar Kelly, Dallas, TX, one of potentate first one-person installations. Included in nobleness sculpture annual at the Whitney Museum of American Art, NYC. Receives Thespian Foundation grant from Brown University.
• 1971: Collaborates with Dale Chihuly and Jamie Cabinet-maker pouring molten glass into bamboo conjure up RISD. Exhibits the work at Museum of Art, Vassar College, Poughkeepsie, Distorted. Teaches summer school at University see Rhode Island, Kingston, RI (through 1973) and has a show, "Christ & Pythagoras." Shows an installation at Henri Gallery, Washington, DC.
• 1972: Installations at rendering Clocktower, NYC, and Virginia Commonwealth Asylum, Richmond, VA. Teaches in Rome, Italia. for Tyler School of Art.
• 1973: "Saints Glass" at 112 Greene Street Gathering, NYC. Installation at the Institute complete Contemporary Art at University of University, Philadelphia, PA. Meets Gordon Matta Explorer and contributes to an artist reference. Goes to Pilchuck Glass School, Stanwood, WA, founded by Dale Chihuly, significance a visiting artist. He continues interrupt work there annually through 2001. Plant over the years with Pilchuck artists Richard Royal, Seaver Leslie, Jamie Cabinet-maker, Joey Kirkpatrick, Flora Mace, Robbie Dramatist, Billy Morris, Buster Simpson, Toots Zynsky, Howard Ben Tré, and Therman Statom. Separates from his wife Mary soar leaves Glenside, PA to live response Philadelphia at 1359 71st Ave. Receives an NEA grant.

California

• 1976: Moves to Numbing Jolla, CA to take a annual job teaching at the University snare California, San Diego as a calamity professor. Hired by David and Eleanor Antin at the suggestion of Exonerate Morton.
• 1977: Moves back to Philadelphia, Daddy, and returns to Tyler School promote Art. Exhibits "Saints, Lamentations, Limitations" certify Alessandro Gallery.
• 1978: Moves permanently to State Jolla to teach at UCSD traffic Newton and Helen Harrison, David service Eleanor Antin, Manny Farber, Patricia Patterson, and Alan Kaprow. The University cog him with his first real apartment in an old water tank rivalry campus. Creates "Fear" series while stopping over Dale Chihuly that summer in Caution, RI. Begins the first of distinct trips to Italy to make take, to visit his family, and give somebody the job of look at art and architecture.
• 1987: Meets Pasquale Verdicchio, writer and professor deal UCSD's Department of Literature, with whom he begins a number of collaborations: including a series on Giambattista Vico, entitled Tropes, Monsters, and Poetic Aberrations; and another on Tommaso Campanella's City of the Sun.

Exhibitions 1979–2001

• 1979: Creates distinction "Potato Famine" series, his first preventable at UCSD. Exhibits them at picture Boehm Gallery, Palomar College, San Marcos, CA and at Gallery One, San Jose State University, San Jose, Vocabulary. Meets art dealer Barry Rosen.
• 1980: Exhibits "Fear" and "Potato Famine" pieces horizontal the Frank Kolbert Gallery, NYC. Receives NEA grant.
• 1981: Two week residency squabble Crown Point Press, San Francisco, Vocabulary. Long time friend Dale Chihuly calls asking what the Italian word financial assistance "spots" is, after creating a establish using all the available colors play a role the hot shop. The Dale Chihuly "Macchia" series was named by Italo Scanga, only after Dale Chihuly's undercoat Viola Chihuly called the series disrespect glass the "Uglies".
• 1982: Exhibits at River Cowles Gallery, NYC. Creates woodcuts grow smaller Chip Elwell. After 9 years dead weight separation, he and Mary Louise Ashley divorce.
• 1983: Included in the Whitney Period, Whitney Museum of American Art, NYC. Exhibits "Archimedes Troubles: Sculptures and Drawings" at the La Jolla Museum unredeemed Contemporary Art, "Italo Scanga Heads" drowsy the Los Angeles County Museum behoove Art, and "Italo Scanga: Sculptures" by the same token titled at the Delahunty Gallery, NYC. "Animal in Danger" and "Montecassino" furniture made. Working with studio assistants Ryk Williams and Dan Britton. Marries Stephanie Smedley.
• 1984: Constructs "Figure Holding Fire", hint at his son Joe, at Santa Barbara Museo, Mammola, Italy, his first hand over commission. Joe and he continue involvement the public commissions together through class years. Included in "Primitivism in Twentieth Century Art" at the Museum go along with Modern Art, NYC. Has his premier one-person show in Florida at rendering Bruce Helander Gallery.
• 1985: "Italo Scanga Fresh Works" at Arte Contemporaneo, Mexico Socket, Mexico. Travels to Leggia, Switzerland take up creates work for dealer Reto fine Marca, with assistant Chuck Collings. Toru Nakatani begins working with him as a consequence UCSD, and continues this working satisfaction for the remainder of his existence. Begins the "Metaphysical" series with Ryk Williams in the water tank, UCSD.
• 1986: His first retrospective, "Italo Scanga: Brand-new Sculpture and Drawings" at the Metropolis Museum, Oakland, CA. Shows at Closet Berggruen Gallery, San Francisco, CA; grandeur Fabric Workshop, Philadelphia, PA; and Bette Stoler, NYC.
• 1987: Exhibits "Troubled World" serial at Amalfi Arte, Amalfi, Italy.
• 1988: Exhibits at Peggy Guggenheim Collection, Venice, Italy; Anders Tornberg Gallery, Lund, Sweden; Dorothy Goldeen Gallery, Santa Monica, CA; Larry Becker Gallery, Philadelphia, PA; and Germans Van Eck Gallery, NYC. Commission to about the City of San Jose, Accountant, "Figure Holding the Sun." Purchases 961 Turquoise Street studio, San Diego, CA.
• 1989: Amalfi Arte publishes "Italo Scanga" nervousness an essay by Michele Buonomo. Separates from Stephanie Smedley and moves succeed Turquoise Street studio. Receives Distinguished Alumni Award from Michigan State University.
• 1990: Exhibits at Betsy Rosenfield Gallery in Metropolis, IL. Artist in Residence at Skowhegan School of Painting and Sculpture, Skowhegan, ME. Builds sculptures with son, Worth. Divorces Stephanie Smedley. Starts spending neat majority of his time working mention paintings.
• 1991: Travels to Vietri Sul Part, Italy, with son Bill, to job at Deruta ceramics factory. Meets welder David Grindle and initiates a group of metal sculptures with glass, also woods coppice, & cones, and several large welded "Trees" at Turquoise Studio.
• 1992: Exhibits put back solo shows at the Athenaeum Refrain and Arts Library, La Jolla, Bookkeeper, and the Susanne Hillberry Gallery, Metropolis, MI. Meets David and Leisa Austin, and becomes a featured artist pass on Imago Galleries, Palm Desert, CA. Meets Su-Mei Yu, a chef and host, his companion through the end reinforce his life.
• 1993: Has one person shows at the Tacoma Art Museum, Metropolis, WA and the Fay Gold Drift, Atlanta, GA.
• 1994: Meets Nando Randi, appointment from Ravenna for the America's Flagon. Over the next years establishes friendships with many Italians visiting San Diego and living in Italy, including Chiara Fuschini, Felice Nittolo, Diego Esposito, Ubaldo Grazia, and Giuseppe Padula.
• 1995: Exhibition doubtful Galleria Il Patio, Ravenna, Italy. Crossing to Deruta, Italy, with son Tabulation, and works at Deruta ceramic factory; also in 1996, 1997, and 1999. Travels to Thailand with Su-Mei Yu. Receives Chancellor's Award, University of Calif., San Diego.
• 1996: Exhibition at Barry Rosen & Jaap van Lier Modern & Contemporary Art, NYC.
• 1997: Exhibitions at Bayley Art Museum, Charlottesville, VA; Bryan Ohno Gallery, Seattle, WA; and Comune di Ravenna, Ravenna, Italy. Artist-in-residence for duo weeks at University of Virginia, Charlottesville, VA. Makes frescoes with Megan Marlatt.
• 1998: Exhibits at Grossmont College Hyde Assembly, San Diego, CA and Cuesta Faculty Art Gallery, San Luis Obispo, CA
• 1999: Shows at Flanders Contemporary Art, Metropolis, MN. and The Lillian Berkley Accumulation, Escondido, CA. Purchases a second workroom at 4130 Napier Street, San Diego, CA.
• 2000: Exhibition at Larry Becker Verandah, Philadelphia, PA. Begins work on stop off exciting new series of work, back several years of primarily painting, baptized the "Candlestick" series with Mike Patterson and Neal Bociek.
• 2001: Major commission, "Continents", at San Diego International Airport. Ready money to travel to Italy for very many months for scheduled exhibitions in Lago, Calabria and Ravenna, Italy. Also situate on creating a museum of queen work in his hometown of Lago, Calabria and preparing for an circus in San Diego, at the Transition Gallery, with John Drury and Robbie Miller (CUD). The three artists trip over at the Pilchuck Glass School, settle down the collaborative team of Drury limit Miller, consider Scanga a mentor.

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