{"id":426516,"date":"2025-05-02T10:50:15","date_gmt":"2025-05-02T14:50:15","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=426516"},"modified":"2025-05-02T10:50:17","modified_gmt":"2025-05-02T14:50:17","slug":"lucio-pozzi","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/lucio-pozzi\/","title":{"rendered":"\u00a0At 89, Artist Lucio Pozzi Is Reaching New Career Heights"},"content":{"rendered":"
\n
\"The<\/a>
The Hoe<\/em><\/a>, 2020, by Lucio Pozzi<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n

Lucio Pozzi<\/a>\u2019s The Hoe<\/em><\/a>, 2020, lures viewers in with a visual tension. Rendered in acrylic paint on wood, the work layers crisp grids and shifting color fields.<\/p>\n\n\n\n

Nine tilted rectangles appear to skid across the light-green surface, suggesting, with their amber hue, apartment windows at night \u2014 except the irregular black shadows behind them hint at a different dimensionality, which simultaneously confuses and delights the eye. Rather than impose a message, Pozzi sets the stage for something unplanned to unfold.<\/p>\n\n\n\n

This spirit of discovery has animated Pozzi\u2019s six-decade career. Born in Milan on November 29, 1935, he studied architecture and ran a graphic-design workshop in Rome before moving to the United States in 1962.<\/p>\n\n\n\n

After attending Harvard\u2019s International Summer Seminar, he settled in New York City, part of a wave of avant-gardists who blurred the lines between painting, sculpture, photography and video.<\/p>\n\n\n

\n
\"Lucio<\/a>
Lucio Pozzi stands outside the Magazzino Italian Art museum, in Cold Spring, New York, where he currently has a survey show called \u201cLucio Pozzi: qui dentro\/in here.\u201d Photo \u00a9 Marco Anelli<\/figcaption><\/figure>\n<\/div>\n\n\n

Now 89, he divides his time between Upstate New York and Verona, Italy, continuing to create with a rebellious restlessness.<\/p>\n\n\n\n

\u201cLucio Pozzi is an extraordinary artist whose practice defies categorization,\u201d says Hal Bromm, whose eponymous Manhattan gallery has represented Pozzi\u2019s work, including The Hoe<\/em>, for nearly five decades. \u201cHe is unafraid, visionary, never satisfied \u2014 an artist who refuses to be boxed in or labeled.\u201d<\/p>\n\n\n\n

The gallerist first met Pozzi socially in Tribeca in the early 1970s. At the time, Bromm was living at 10 Beach Street, the same address where he would launch his gallery in 1975. When Hal Bromm Gallery<\/a> moved to Franklin Street, in 1976, Pozzi was among five artists invited to inaugurate the intentionally raw, unpainted space with site-specific installations.<\/p>\n\n\n\n

Pozzi\u2019s contribution \u2014 a triangular sheetrock cutout placed on the wall next to the negative space it once occupied \u2014 communicates the same sense of dislocation and playful rigor conveyed by The Hoe<\/em>. The artist later compared his intervention in the unfinished gallery space to \u201cadding a dissonant solo in a Thelonious Monk piece.\u201d<\/p>\n\n\n

\n
\"Installation<\/a>
This installation view reveals the sheer variety of works on display in \u201cLucio Pozzi: qui dentro\/in here.\u201d Photo \u00a9 Marco Anelli\/Tommaso Sacconi<\/figcaption><\/figure>\n<\/div>\n\n\n

Among the exhibitions Hal Bromm Gallery is mounting to celebrate its 50th anniversary is \u201cLucio Pozzi Cornucopia: The Bielefeld Watercolors<\/a>\u201d (on view through May 10), a suite of small works on paper that Pozzi first displayed in his 1982 retrospective at Kunsthalle Bielefeld, in Germany.<\/p>\n\n\n\n

Simultaneously, Magazzino Italian Art, a museum and research center in Cold Spring, New York, is honoring Pozzi\u2019s milestone 90th birthday with \u201cLucio Pozzi: qui dentro\/in here<\/a>\u201d (up through June 23), a cohesive and colorful survey of 60 years of innovation, with art placed on the floor, near the ceiling and at every latitude in between.<\/p>\n\n\n\n

That show, curated by David Ebony, presents landmark pieces like the freestanding sculpture Elbow<\/em>, 1963, and the radiant Open Gates of Spring (Persephone<\/em>), 2023, spotlighting Pozzi\u2019s dialogue with Arte Povera<\/a> and American minimalism<\/a>, as well as his enduring inventiveness.<\/p>\n\n\n

\n
\"Detail<\/a>
Detail of The Hoe<\/em>, 2020, by Lucio Pozzi<\/figcaption><\/figure>\n<\/div>\n\n\n

Given the variety of materials and forms on view, it\u2019s hard to pin down a trademark Pozzi style, and that\u2019s the way he likes it. As Bromm notes, \u201cLucio elaborated on his lack of a \u2018style\u2019 in a 1979 letter published in Artforum<\/em>: \u2018I find myself not caring very much whether someone is or is not recognizing my work as mine.\u2019 \u201d<\/p>\n\n\n\n

In The Hoe<\/em>, the gallerist adds, \u201cPozzi invites the viewer to consider the happenstance of the patterns, not as an intention but as an exploration to discover what happens when the eye follows opposing shapes.\u201d<\/p>\n\n\n\n

All of this embodies Pozzi\u2019s lifelong embrace of what he calls \u201cthe art of not knowing.\u201d<\/p>\n\n\n\t

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Lucio Pozzi\u2019s The Hoe, 2020, lures viewers in with a visual tension. Rendered in acrylic paint on wood, the work layers crisp grids and shifting color fields. Nine tilted rectangles appear to skid across the light-green surface, suggesting, with their amber hue, apartment windows at night \u2014 except the irregular black shadows behind them hint 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