Ugo Mulas

Ugo Mulas, the Italian photographer renowned for portraits of artists and street photography, is a significant figure in 20th-century photography. His professional journey included collaborations with esteemed Italian publications such as Settimo Giorno, Rivista Pirelli, Domus, and Vogue. Additionally, Mulas applied his photographic skills to commercial ventures, working on advertising campaigns for prominent clients like Pirelli and Olivetti.

The book "New York, the New Art Scene" catapulted Mulas to the zenith of recognition. This iconic work not only showcases his exceptional talent but also epitomizes his enduring legacy in the realm of photography.

Biography of Ugo Mulas

Born in 1928 in Pozzolengo, a province of Brescia, Italy, Ugo Mulas embarked on a diverse and influential journey through the world of photography and art. Although he initially pursued law studies in Milan in 1948, Mulas soon redirected his focus toward the Brera Fine Arts Academy, where he delved into the realm of art. During this time, he began capturing the stories and scenes of Milan's suburbs, marking the inception of his photographic career.

A pivotal moment came when Mulas became a regular at the legendary "Jamaica" bar, immersing himself in the vibrant world of art and fashion. In 1954, his talent caught the attention of those in the artistic sphere, leading to his first professional assignment: covering the prestigious Venice Biennale. This assignment not only launched his career but also ignited a lifelong commitment. He continued to document every Venice Biennale until 1972 and compiled his work into an art book, leaving an indelible mark on the world of art documentation.

During his coverage of the Spoleto Festival in 1962, Mulas crossed paths with sculptor Alexander Calder, forging a profound friendship. Calder subsequently became a central subject in Mulas' photography and written works.

In 1964, while photographing the Venice Biennale, Mulas encountered a multitude of American artists, art critics, and the influential art dealer Leo Castelli. This encounter proved to be a transformative moment, leading Mulas on a journey to New York City, where he became a chronicler of the burgeoning Pop art scene. The fruits of this endeavor were showcased in his renowned exhibition, "New York, the New Art Scene," which featured enlargements of Mulas' contact sheets and captivating environmental portraits of artists such as Robert Rauschenberg, Jasper Johns, Barnett Newman, and Roy Lichtenstein.

In 1970, Mulas started his "La Verifiche" series, further expanding the horizons of his photographic exploration. However, his final book, "La Photographie," was released in early 1973, marking the culmination of his literary contributions.

Regrettably, at the age of 45, Ugo Mulas passed away in Milan in 1973, leaving behind a rich legacy of art documentation and photographic innovation that continues to influence and inspire.

Ugo Mulas' Art Style

Driven by a profound interest in the creative process and the act of art-making, Ugo Mulas embarked on a remarkable journey in the world of photography. During the 1950s and 60s, he meticulously captured Italian and foreign artists in their studios, a selection that included luminaries like Alexander Calder, Marcel Duchamp, Lucio Fontana, Jasper Johns, Robert Rauschenberg, Andy Warhol, and numerous others. These portraits not only depicted the artists at work but also delved into the very essence of their creative spaces. Mulas had a prescient eye for detail and the environment itself, anticipating the future evolution of this thematic exploration in photography.

Influenced by the avant-garde spirit and experimental fervor prevalent in the art world, Mulas extended this innovative approach to his photography. His dedication to a long-term, unfinished project known as "Verifiche" (1962-1970) represents a significant study of the concept of photography. He recognized the inherent performativity of photography, and his sequences of images often appeared askew and oblique, skillfully toying with the unpredictable and ephemeral nature of events.

The "Verifiche" series, also referred to as the "Verification Proofs," featured predominantly black photographs printed directly from blank negatives and intentionally left uncropped. These images challenged conventional notions of language and temporality within the confines of the picture frame.