Patrizio di Massimo
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Patrizio di Massimo | |
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| Born | 1983 (age 42) |
| Nationality | Italian |
| Education | Brera Academy, Slade School of Fine Art |
| Style | Painting |
Patrizio di Massimo (born 1983, Jesi, Italy) is an Italian contemporary artist based in London. He is recognised for his self-portraits and paintings depicting family and friends.[1]
Early life and education
Di Massimo was born in Jesi, in the Italian region of Marche. He received his bachelor’s degree from the Brera Academy in Milan and later graduated from the Slade School of Fine Art in London.[2]
Work
Di Massimo's work is influenced by early 20th-century art movements, particularly the Italian Return to Order and the German New Objectivity.[3] [4] His portraiture explores themes of power, seduction, consensus, and co-optation.[5] His subjects include self-portraits where he appears in various disguises, as well as portraits of family and friends depicted in intimate, theatrical scenes.[6] His work has been noted for its engagement with masculinity and queerness,[7] often incorporating erotic undertones that challenge conventional representations of the male body and the male gaze.[8]
Di Massimo employs the glazing technique.[9] Before focusing exclusively on painting, he experimented with performance art, video, and installation.[10] Between 2012 and 2015, his work incorporated decorative elements such as cushions, tassels, curtains, and trimmings.[11]
Exhibitions
Di Massimo has held solo exhibitions at institutions including Castello di Rivoli, Rivoli-Turin (2021), Kunsthalle Lissabon, Lisbon (2014), Gasworks, London (2013), Stedelijk Museum, Amsterdam (2012), and Whitechapel Art Gallery, London (2009). His work has also been featured in group exhibitions at Hangar Bicocca, Milan (2017), Fiorucci Art Trust, London (2015), Triennale di Milano, Milan (2015), Fondazione Sandretto Re Rebaudengo, Turin (2013), MAXXI, Rome (2012).[12]
References
- ↑ Casavecchia, Barbara (2023). Patrizio di Massimo: Anthology (2013-2023). Macerata: Quodlibet. p. 9, 79. ISBN 978-88-229-2040-9.
- ↑ Obrist, Hans Ulrich (2019). "Hans Ulrich Obrist in Conversation with Patrizio Di Massimo". In di Massimo, Patrizio; Bottai, Stella (eds.). Patrizio Di Massimo. Milan: CURA. pp. 8–9. ISBN 978-88-99776-24-4.
- ↑ de Bellis, Vincenzo; Rabottini, Alessandro (2023). Strata: Arte italiana dal 2000. Le parole degli artisti. Milano: Lenz. p. 263. ISBN 979-12-80579-24-9.
- ↑ Pratesi, Ludovico; Vitali, Massimo (2023). "Patrizio Di Massimo in conversation with Ludovico Pratesi and Massimo Vitali". In Casavecchia, Barbara (ed.). Patrizio di Massimo. Anthology (2013-2023). Macerata: Quodlibet. pp. 175–176. ISBN 978-8-822920-40-9.
- ↑ Rabottini, Alessandro (2019). "The Acrobat". In di Massimo, Patrizio; Bottai, Stella (eds.). Patrizio di Massimo. Milan: CURA. ISBN 978-88-99776-24-4.
- ↑ Casavecchia, Barbara (2023). Patrizio di Massimo: Anthology (2013-2023). Macerata: Quodlibet. pp. 79, 97, 130. ISBN 978-88-229-2040-9.
- ↑ Hussein Clark, Than (2019). "Painting and Cuckoldry". In di Massimo, Patrizio; Bottai, Stella (eds.). Patrizio di Massimo. Milan: CURA. ISBN 978-88-99776-24-4.
- ↑ Casavecchia, Barbara (2023). Patrizio di Massimo: Anthology (2013-2023). Macerata: Quodlibet. p. 13. ISBN 978-88-229-2040-9.
- ↑ Beccaria, Marcella (2019). "History as Present, Painting as Matter". In di Massimo, Patrizio; Bottai, Stella (eds.). Patrizio di Massimo. Milan: CURA. ISBN 978-88-99776-24-4.
- ↑ Lambertucci, Nicoletta (2019). "The Collaborative Hermit". In di Massimo, Patrizio; Bottai, Stella (eds.). Patrizio di Massimo. Milan: CURA. ISBN 978-88-99776-24-4.
- ↑ Mourão, João; Silva, Luís (2014). "Patrizio Di Massimo in Conversation with João Mourão and Luís Silva". Cura Magazine. 17 (Summer): 104–115.
- ↑ Casavecchia, Barbara (2023). Patrizio di Massimo: Anthology (2013-2023). Macerata: Quodlibet. ISBN 978-88-229-2040-9.
External links
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