A growing international community of institutions and organizations is actively expanding and enhancing appreciation of the work of Fortunato Depero. The list below includes leaders in presenting Depero-related materials and activities. Copies of The Bolted Book can be found in the collections of the institutions that are indicated with an asterisk *.
Bibliothèque national de France*
Canadian Centre for Architecture*
Cary Graphic Arts Collection at the Rochester Institute of Technology*
Casa d’Arte Futurista Fortunato Depero (Mart)
Center for Italian Modern Art*
Columbia University Libraries*
Cooper Hewitt, Smithsonian Design Museum
Entertainment Technology Center at Carnegie Mellon University
Estorick Collection of Modern Italian Art
The Fisher Center for the Performing Arts at Bard College
Fundación Juan March, Spain
Koninklijk Museum voor Schone Kunsten Antwerpen*
Kunsthistorisches Institut in Florenz, Max-Planck-Institut, Bibliothek*
Los Angeles County Museum of Art*
Mart, Museum of modern and contemporary art of Trento and Rovereto*
Musashino Art University Museum & Library*
Museum of Modern Art, New York*
Northwestern University Libraries*
Ohio University - Alden Library*
Princeton University Library - Marquand Library of Art and Archaeology*
TU Berlin, Universitätsbibliothek - Zentralbibliothek der Technischen Universität Berlin*
University of California, Los Angeles Libraries*
University of Illinois at Urbana-Champaign Library*
University of Wisconsin-Madison - Art Library*
Yale University Library - Beinecke Rare Book & Manuscript Library*
Articles on the new Bolted Book facsimile:
Liz Stinson in WIRED on October 19, 2016:
ARTICLES ON DEPERO:
Jonathon Keats in Forbes on May 29, 2009:
Depero’s genius for publicity would be the basis of his legacy. As early as 1927, he’d published a personal portfolio deemed by Gabriella Belli “a unique specimen even by today’s standards.” Titled Depero Futurista and bound with two large industrial bolts, the book included some of the potent graphics he’d designed for such companies as Campari, interspersed with anarchic flights of typography that were essentially advertisements for himself.
It was just the avant-garde calling card he needed to solicit commercial work from more forward-looking clients in Italy and New York. While the visuals were vintage Futurism, Depero successfully adapted them to a popular context. In yet another manifesto, written in 1931, Depero proclaimed that “the art of the future will be largely advertising.” He remained true to that commercial ideal until his death in Rovereto three decades later. If his name has faded in the ensuing half century, while Marinetti’s eccentricities are ever more famous, it is because Depero’s Futurist vision is now ubiquitous. We are living in his reconstructed universe.
Anna Battista in Irenebrination on September 14, 2014:
Last but not least, since your eyes will have been satisfied at the end of this post, here's something for your ears: if you're looking for music with a Depero twist, check out the recently released album "DangereuXorcisms" by NAD (Neu Abdominaux Dangereux), digitally distributed by Kutmusic.
A mix of futurism and avant-garde music, the album blends jazz,electronica, vintage spoken samples and musical quotes from film and TV soundtracks. The cover is also inspired by Depero (like the band's debut release - "Ghosts" - that came out 25 years ago). Looks like we're living in very Depero times and you'd better enjoy them.
Peter Schjeldahl in The New Yorker on March 3, 2014:
A fascinating discovery for me, in the show, is the multimedia virtuosity of Fortunato Depero, a Futurist recruit who introduced a repertoire of robotic forms and figures. He made terrific puppets, for performances and for children’s play, and theatre sets. Among his other feats as a commercial artist, he created the classic Campari Soda bottle. From 1928 to 1930, Depero lived in New York, mounting Futurist shows and producing stylish illustrations and covers for magazines, including this one.
Roberta Smith in the New York Times on February 20, 2014:
Review of “Italian Futurism, 1909-1944” at the Guggenheim Museum.
Rita Reif in the New York Times on June 13, 1999:
Review of “Depero Futurista Rome-Paris-New York, 1915-1932.”