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connection with these works La Rocca made specific reference to the female life experience, which had only ascribed certain activities to women’s hands. In 1974, she wrote from a feminist perspective: “For women today is not a time of explanations. They have a lot to do and then they only have one language at their disposal, which is alien and inimical to them. They are robbed of everything, except of the things that no one notices and those are manifold, even if they must be arranged. Hands, for instance, too slow for female skills, too poor and too incapable of continuing to hoard. It is better to embroider with words...“
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She then began using words written in rapid cursive on the images of hand (see for example "Le mie parole e tu?", 1971). This was the common trait of two main series produced by Ketty La Rocca in the last years of her life: the "riduzioni" and the "craniologie". In the former works, she developed her
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Near the end of her career La Rocca worked in "Riduzioni" (reductions), in which she transforms a common photograph, such as a family or individual portrait, into something more graphic. She alters the picture using graphic contouring of the image or by other distortions, often involving written
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Beginning in the 1970s she mounted an extensive study of the human hand. She examined their potential for expression. She combined hands and words. She desired to create a different language, a more visceral communion in which the physical body, gestures and the written word were intertwined. In
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signature body of work, and passage after passage, with a gradual transfiguration, the images dissolve — through the act of writing — to the point where they become pure abstraction. In the "craniologie" she used the word "you", written on the reproductions of
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After that time La Rocca developed the idea of a body-language, or of a body turned into language. She used pictures of human hands making simple gestures. Her initial steps during this phase included her book "In principio erat" (1971), which
65:, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Knowledge (XXG).
245:, she produced, in line with the visual poetry of Gruppo 70, to which she belonged, her collages, a set of images and words taken from newspapers and magazines and recombined in critical forms.
284:. La Rocca constructed her unique aesthetic language working with materials as different as the letters of the alphabet, hand gestures, x-rays of her own head, and the practice of
252:, using innovations including videotapes, installation and performance. During this time she created several works in black PVC plastic, often reproducing single letters of the
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The art of La Rocca comprises visual poetry, visual art, and performance. She explored language, images, and scenes of the everyday world. She emphasized the imagery of bodies.
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La Rocca died of brain cancer in 1976 at the age of 37. After her death, La Rocca's works have gained international notice. Several retrospectives have been organized in
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1996 Giorgio
Verzotti, Ketty La Rocca,” c’est elle qui souligne”, Blocnotes, Janvier- Fevrier 1996, pp. 54–59 e Ketty La Rocca “Emphasis Hers” pp. 115–119.
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Donna: Avanguardia
Femminista negli anni ’70 dalla Sammlung Verbund di Vienna, (exh. Cat), Galleria nazionale d’arte moderna, Roma (2010), pp. 46–55, Electa.
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AA. VV., Wack! Art and the
Feminist Revolution, exh. cat., The Museum of Contemporary Art, L.A. and The MITT PRESS, Cambridge (2007), pp. 114–15, 289
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cited as one of the fundamental experiences of
Italian body art; and La Rocca's video “Appendice per una supplica”, shown for the first time at the 1972
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Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
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is managed by her son, Michelangelo Vasta, Professor of
Economic History at the Department of Economics and Statistics, University of Siena.
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La Rocca debuted in the early 1960s as a poet, and eventually combined her poetic sense with the visual sense. Beside the experience with
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Simone Marsi, Perdersi dentro casa. La storia che ha commosso il mondo di Ketty La Rocca, in
Arabeschi, n. 15, 2020, pp. 127-138. URL:
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AA.VV., Italics. Arte italiana fra tradizione e rivoluzione 1968–2008, exh. cat., Mondadori Electa, Milano (2008), p. 101
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Content in this edit is translated from the existing
Italian Knowledge (XXG) article at ]; see its history for attribution.
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2007 Los
Angeles. “Wack! Art and Feminist Revolution”, Flash Art International, n. 253, March–April 2007, p. 69.
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2006 Francesca Pasini, Ketty La Rocca. Galleria Emi
Fontana, Tema Celeste, n. 113, Gennaio-Febbraio 2006, p. 99.
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2005 Alberto
Mugnaini, Ketty La Rocca. Emi Fontana, Flash Art, n. 255, Dicembre 2005 – Gennaio 2006, p. 97.
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1993 Judith Russi Kirshner, You and I, The Art of Ketty La Rocca, Artforum international, March 1993, pp. 80–83.
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1976 Lucy R. Lippard, The Pains and Pleasures of Rebirth: Women’s Body Art, Art in America, n. 3, May–June 1976.
207:(14 July 1938 – 7 February 1976) was an Italian artist during the 1960s and 70s. She was a leading exponent of
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2006 Daniela Palazzoli, Scritti di Ketty La Rocca, Arte & Critica, n. 46, Aprile-Giugno 2006, p. 87.
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2010 Simone Menegoi, The Space Between Me and You, Kaleidoscope, n. 6, April – May 2010, pp. 104–109.
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Del Becaro, Elena, Intermedialità al femminile: l’opera di Ketty La Rocca, Mondadori Electa, Milano (2008)
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2009 Chiara Bertola, Italics, Flash Art International, n. 264, January–February 2009, p. 96.
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Rebelle. Art & Feminism 1969–2009, (exh. Cat), MMKA, Arnhem, NL, pp. 220–221 (2009)
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One piece of La Rocca's work was acquired by the Uffizi, for exhibition in its wing of the
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1989 Ketty La Rocca, retrospettiva a cura di Lara Vinca Masini, Cat Ed. Carini, Firenze
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1996 Il corpo come luogo alla Kunsthalle, Flash Art, n. 196, Febbraio-Marzo 1996, p.39.
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Ketty La Rocca: I suoi scritti, a cura di Lucilla SaccĂ , Martano Editore, Torino (2005)
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1990 Maria Luisa Frisa, Ketty La Rocca, Flash Art, n.155, Aprile–Maggio 1990, p.138.
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Fondazione Carispezia|Fondazione Cassa di Risparmio della Spezia, La Spezia (1999)
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2002 Peter Frank, Ketty La Rocca, LA Weekly, April 26 – May 2, 2002, p. 142.
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Ketty La Rocca's works are exhibited in the most important museums in the world:
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Museo di Arte Moderna e Contemporanea di Trento e Rovereto (MART), Rovereto, IT
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of her skull, where the image of a hand or a finger was superimposed on the
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Starting from the late 1960s and early 1970s, she examined the universe of
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to the source of your translation. A model attribution edit summary is
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1974 Luigi Carluccio, Ketty La Rocca, Panorama, n. 421, 16/05/1974.
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Ketty La Rocca, Catalogo retrospettiva (1989), Ed. Carini, Firenze.
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Ketty La Rocca, Monografia (1975), Ed. Museum Am Ostwall, Dortmund
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Appendice per una supplica (1972), Ed. Museum Am Ostwall, Dortmund
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1995 Body as site at Kunsthalle, Flash Art International,, 1995.
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Centro Arte Moderna e Contemporanea della Spezia, La Spezia, IT
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Ketty La Rocca, Fondazione Cassa di Risparmio La Spezia (1999)
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260:(mainly the comma), and various objects in metal and mirror.
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Ketty La Rocca, Galerie im Taxispalais, Innsbruck (2003)
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Omaggio a Ketty La Rocca, Pacini Editore, Pisa (2001)
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439:In principio erat (1971), Ed. Centro Di, Firenze
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364:Galleria Martano, Turin (2011)
361:Villa Romana, Florence (2012)
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316:Kunstlerhaus Stuttgart (1995)
810:Italian contemporary artists
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551:Ketty La Rocca. Nuovi Studi
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538:References
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144:1938-07-14
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152:La Spezia
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310:(1992)
297:Europe
278:x-rays
668:WACK!
293:Italy
178:Italy
59:DeepL
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256:and
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