Fragments of Totality

A new history of Futurism and its fraught ideological ambitions, centered on sculptural experimentation
 
As the first comprehensive avant-garde of the twentieth century, Italian Futurism sought to integrate modern life with every imaginable aesthetic medium. The detached materiality of sculpture offered a singular proving ground for the drive to merge art and existence. Sculpture’s theory and practice offers a distillation of Futurism’s larger aims and frustrations: a will to mechanize haunted by the tradition of craft; the liberation of flight burdened by mass and gravity; the lyrical mutiny of form chastened by the exigencies of design; and a dream of totality splintered by the contingency of the fragment.
 
Centered on avant-garde sculpture in Italy and other European countries between the world wars, this book ventures a new history of Futurism and its fraught ideological ambitions. Illuminating understudied works by prominent artists like Giacomo Balla, Enrico Prampolini, and Bruno Munari alongside the work of many lesser-known figures, this first major study of Futurist sculpture opens onto wider questions: from labor and leftist Futurism to the politics of aesthetic autonomy to the intersections between race, imperialism, and materials. The medium—and the idea—of sculpture sets into relief the demands of any project of modern cultural totality. Futurism’s shifting definitions of “plasticity” underscore the volatile political economy not only of interwar Italy, but also perhaps of a wider Western epoch.