Was any avowedly modern art movement as obnoxious and noisily contradictory as Italian Futurism? Futurism was unique in that it was a self-invented art movement. To begin with, the painter-composer Luigi Russolo’s pursuit of noise music applied the concept of Duchamp’s ready-made to existing sound, setting the stage for John Cage. “Italian Futurism, 1909-1944: Reconstructing the Universe” runs through Sept. 1 at the Guggenheim Museum, 1071 Fifth Avenue, at 88th Street, (212) 423-3500. Umberto Boccioni, Unique Forms of Continuity in Space. American military thinkers are suffering from these problems less than has been historically common. After the war, Marinetti became an early and ardent Fascist and a confidant of Mussolini and campaigned for Futurism to be declared the official national style. Another is Balla, the Futurist who seems to have felt most at home with abstraction, as indicated by the Guggenheim’s “Abstract Speed + Sound” of 1913-14, a small painting whose bounding curves of red, green, white and silver feel contemporary in part because of careful touches that evoke spray painting and stencils. The series explores the ways these evolutions in the operating environment provide opportunities for experimentation and testing of new technologies, capabilities, and approaches to war. So massive was this exhibition that the catalogue was said to weigh as much as a bomb. Futurism was invented, and predominantly based, in Italy, led by the charismatic poet Marinetti. Set off in their own small gallery, they can evoke “The Wizard of Oz” as if done by Walt Disney. The high points include Depero’s Campari ads, his beautifully stylized drawings and a 1918 series of colorful preparatory works on paper and sculptures, and one charming painting for the “The Plastic Ballet,” a kind of commedia dell’arte puppet show. That focus is excessive. In Second Futurism, new believers become dominant — including the multitalented painter Fortunato Depero — and the art itself turned more benign, consistent and decorative. The U.S. National Defense Strategy of 2018 was an inflection point. Is the Story of ‘The Few’ More Myth Than Reality. But was the menu taken up by Mussolini and his Fascists? The U.S. is therefore at risk of losing the military learning race and finding at the start of the next major conflict that, despite having imagined some important developments in conventional war, it is still intellectually, doctrinally, and organizationally unprepared for the war it is in. Futurist Free Word Painting. Buy Online Access  Buy Print & Archive Subscription. Retrofuturism (adjective retrofuturistic or retrofuture) is a movement in the creative arts showing the influence of depictions of the future produced in an earlier era. With a few remarkable exceptions, mostly by Giacomo Balla, Futurist painting was generally little more than a souped-up, Cubified realism, although it remained its central concern. “Sudan-Paris” and a similar, more sophisticated work by Prampolini creates the impression that even with this phenomenal show of shows, Futurism still has its secrets. The show is accompanied by a thick catalog with essays by about 30 scholars and curators. In the years after the war, Futurist painting largely abandoned cars and trains to fall wackily in love with realistic vertiginous views from airplanes that suggest a jazzed-up Socialist Realism. [3] The robust literature on military lessons learned exceeds what the authors can place in a proposal footnote. Made almost entirely of big, blocky letters, it was constructed at one-third actual size for this exhibition. The U.S. National Defense Strategy of 2018 was an inflection point. What’s striking is how dated heroic Futurist painting and sculpture can look. [4] Max Boot, Savage Wars of Peace and War Made New; David Kilcullen, The Accidental Guerrilla: Fighting Small Wars in the Midst of a Big One (Oxford: 2009). 1400 16th Street NW, Suite 515 Washington, DC 20036. Fortunato Depero’s “Stormy Patriot Marinetti: Psychological Portrait,” right, is one of the works in “Italian Futurism, 1909-1944: Reconstructing the Universe” at the Guggenheim Museum. From the first of its many manifestoes, which its founder Filippo Tommaso Marinetti published in 1909, Futurism exalted not only the fast, powerful machines of modernity but virility, patriotism and war — “the world’s only hygiene” — while it encouraged “scorn for women” and for feminism, and promised the destruction of “museums, libraries, academies of every kind.” The Futurists embraced the advent of World War I in hopes that it would rid Italian society of its decadence and catapult it, purified, into the fast-changing present. Most important, unlike most previous Futurist exhibitions, this one is not limited to the movement’s “heroic phase,” which often concludes at the onset of World War I, well before the rise of Fascism. The United States reoriented its defense enterprise on great power competition and conventional challenges that Russia and China pose. It exemplifies Tactilism, which Marinetti and Benedetta formulated as textured art made in part to be touched and which occasioned the obligatory manifesto. [4] The 1973 War partly inspired the development of U.S. Air-Land Battle Doctrine. Two short films give a visceral idea of the verbal acrobatics with which words in liberty poems were performed, and the audience’s often raucous response, along with snippets of Russolo’s music. “Futurist Flower,” (1920) by Giacomo Balla, far right, with other pieces by Depero. The renovated Palazzo Grassi in Venice groaned under the weight of 300 paintings and 1,200 other works, including a magnificent Bugatti automobile, all purportedly related to Futurism and its 'influence'. 1556332. [1]  The impetus for this reorientation stems from a combination of factors: These concerns have concentrated the minds of America’s national security leaders in a good way—change is needed. Organized by Vivien Greene, the museum’s senior curator of 19th- and early-20th-century European art, it contains much from the movement’s next phase, called Second Futurism, finishing close to 1944, the year Marinetti died. [2] For this criticism of current thought, Sean McFate, The New Rules of War: Victory in the Age of Durable Disorder (New York: William Morrow, 2019). It was not made until 2010, when a group of entertainment technology students at Carnegie Mellon University produced a delightful facsimile.

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