Elizabeth Mangini is an art historian who specializes in social histories of postwar and contemporary art, especially European art of the 1960s. Her current research projects include a study of Arte Povera in Turin, and a book on Italian sculpture and phenomenology in 1960s-70s. She is an active member of the editorial board of Palinsesti, a journal of Italian Contemporary Art. Mangini has held curatorial positions and postgraduate fellowships at the Museum of Modern Art, New York; the Walker Art Center, Minneapolis; and MASS MOCA.
Professor Manigni is editing a forthcoming issue of Palinsesti on art and politics in Italy and West Germany in the 1970s (December 2014). In 2015 she will chair a panel on postwar Italian art and politics at the College Art Association annual conference in New York, and will deliver a paper at the Center for Italian Modern Art in New York’s inaugural conference on postwar Italian art.
BA: Stanford University, MA: Williams College/Clark Art Institute, PhD: The Graduate Center, CUNY
Major publications include:
“Form as Social Commitment: The Art of Giovanni Anselmo” Enthymema VII, (Universitá di Milano, 2012-13): 559-574.
“Navigating a Cultural Chiasm: Giuseppe Penone’s Sculpture during the Anni di piombo.” Graziella Parati, ed., New Perspectives in Italian Cultural Studies: The Arts and History, Vol. 2 (New York: Fairleigh Dickinson University Press, 2012), 153-174.
“Dust to Dust: On ‘Arte povera più azioni povere 1968′,” Artforum L no. 9 (May 2012), 103-4.
“Uno Specchio d’ Italia: Luciano Fabro’s Italies,” Palinsesti, vol.1 no. 2 (2011): 67-74.
“1000 Words: Giuseppe Penone,” Artforum XLIX no. 2 (October 2010): 226-29.
“Parallel Revolution,”Artforum XLVI no. 3 (November 2007), 159–162
“This is Not a Painting: Space Exploration in Postwar Italian Art,” in Target Practice: Painting Under Attack 1949-1975, ed. Michael Darling, (Seattle Art Museum, 2009), 86-101.
“Jan Dibbets,” Bits and Pieces Put Together to Present a Semblance of a Whole (Minneapolis: Walker Art Center, 2005), 190–191
“Real Lies, True Fakes, and Supermodels,” Invisible Culture 7, Rochester, NY: University of Rochester (Spring 2004), online journal
“Pipilotti’s Pickle: Making Meaning from the Feminine Position,” Performing Arts Journal 23, no. 2 (May 2001), 1–9.