# data[].attributes.attachment_link.title
An Introduction to Lucio Fontana | Christie's

# data[].attributes.attachment_link.readable_text
The movement (Movimento Spaziale - spacialist movement, or spacialism) was launched in 1947 after Lucio Fontana's return to Italy from Argentina with the first Manifiesto Spaziale (spatialist manifesto). In this, and in the several more that followed, Fontana developed the ideas of the Manifiesto Blanco issued at the Altamira Academy in Buenos Aires the year before. There he had called for an art that embraced science and technology and made use of such things as neon light, radio and television.

In 1949 Fontana installed his Ambiente Spaziale at the Galleria del Naviglio in Milan. It consisted of an abstract object painted with phosphorescent paint and lit by a neon light, and was a pioneering example of what became known as installation art. He subsequently went on to make the works on canvas to which he gave the generic title of Concetto Spaziale (spatial concept) although continuing to make installations using light. The basis of the Concetto Spaziale works was the piercing, or later slashing with a razor, of the canvas to create an actual dimension of space. Fontana made a long series of these and extended the idea into sculpture in his Concetto Spaziale, Natura series.

Other Spazialismo artists included Gianni Dova and Roberto Crippa.

# data[].attributes.attachment_link.description
The movement (Movimento Spaziale - spacialist movement, or spacialism) was launched in 1947 after Lucio Fontana's return to Italy from Argentina with the first Manifiesto Spaziale (spatialist manifesto). In this, and in the several more that followed, Fontana developed the ideas of the Manifiesto Blanco issued at the Altamira Academy in Buenos Aires the year before.

# data[].attributes.attachment_link.title
What the Water Gave Me (painting) - Wikipedia

# data[].attributes.attachment_link.readable_text
Yasumasa Morimura (born 1951, Osaka, Japan) has been working as a conceptual photographer and filmmaker for more than three decades. Through extensive use of props, costumes, makeup, and digital manipulation, the artist masterfully transforms himself into recognizable subjects, often from the Western cultural canon. Morimura has based works on seminal paintings by Frida Kahlo, Vincent Van Gogh, and Diego Velázquez, as well as images culled from historical materials, mass media, and popular culture. The artist's reinvention of iconic photographs and art historical masterpieces challenges the associations the viewer has with the subjects, while also commenting on Japan's complex absorption of Western culture. Through his depiction of female stars and characters, Morimura subverts the concept of the "male gaze"; within each image he both challenges the authority of identity and overturns the traditional scope of self-portraiture.

​The artist has recently had solo exhibitions at the Kyoto City Kyocera Museum of Art, Kyoto; Artizon Museum, Tokyo; Hara Museum of Contemporary Art, Tokyo; the Andy Warhol Museum, Pittsburgh; Japan Society, New York; the National Museum of Modern Art, Osaka, Japan; the Pushkin State Museum of Fine Arts, Moscow; and the Sammlung Friedrichshof in Zurndorf, Austria. Morimura's work has been collected by numerous prominent public and private collections, including the Whitney Museum of American Art, The San Francisco Museum of Modern Art, the J. Paul Getty Museum, Los Angeles, the Museum of Fine Arts, Boston, the Museum of Contemporary Art, Chicago, The Museum of Contemporary Art, Los Angeles, and the Carnegie Museum of Art, Pittsburgh.

# data[].attributes.attachment_link.description
Yasumasa Morimura (1951, Osaka, Japan) is a conceptual photographer who takes portraits of himself masterfully masquerading as recognizable subjects, often from Western culture.