Edited By Marina Spunta and Jacopo Benci
The photographer Luigi Ghirri (1943–1992) was one of the most significant Italian artists of the late twentieth century. This volume – the first scholarly book-length publication on Ghirri to appear in English – introduces his photographic and critical work to a broader audience and positions Ghirri as a key voice within global artistic debates. It breaks new ground by approaching Ghirri’s œuvre from a wide range of interdisciplinary perspectives, in order to take account of the breadth of his interests, the variety of his projects and the far-reaching impact of his work as a practitioner, writer, theorist and curator, both in the field of photography and beyond. Drawing on different approaches from disciplines including art history, theory of photography, literary and cultural studies, architecture, cartography, and place and landscape studies, the essays in the volume show how Ghirri redefined contemporary photography and helped shape the «spatial» or «landscape» turn in Italy and further afield.
Notes on Contributors
Epifanio Ajello is Professor of Italian contemporary literature at the University of Salerno. His research spans from eighteenth- to twentieth- century literature. He has published books on Carlo Goldoni (Storia del mio teatro, 1993; L’esattezza e lo sguardo, 2001; and a critical edition of Goldoni’s Memorie Italiane, 2011), on Guido Gozzano (Nell’Oriente favo- loso, 2004), and, more recently, on the relationship between literature and photography (Il racconto delle immagini. La fotografia nella modernità let- teraria italiana, 2009), as well as on contemporary literature (Arcipelaghi. Calvino e altri, 2013). He has published several articles on contemporary authors (Calvino, Campanile, Celati, D’Annunzio, Montale, Moravia, Gatto, Sanguineti, and others) in various journals (Allegoria, Lettere Italiane, Poetiche, Sinestesie, Studi Novecenteschi) and has edited a series of critical editions and three collections of essays by Italian contemporary comparativists (Graf, 1993; Zumbini, 1996; Linguiti, 2006). He has taught as a visiting professor at several universities in Finland, Germany and France. Paolo Barbaro is a historian of photography and curator of the Photography Section of the CSAC, Centro Studi e Archivio della Comunicazione (Photographic Archive) at the University of Parma, where he has held a research post since 1978. His research fields include: corporate photography, photography of the European avant-garde, postwar Italian photography (including neorealist photography and landscape photog- raphy of the 1970s and 1980s) and architectural photography, a field in which he also engages as a practitioner. He has published the following volumes: Lo studio Villani; il lavoro della fotografia (1980); Florence Henri, fotografie 1927–1940...
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