Arte Povera

Piacentino first exhibited with Arte Povera artists at Galleria Sperone, Turin in 1966 and then in Milan the following year. While involved with the Arte Povera movement in its infancy and cited as one of its founders, he abandoned it early on.^[6] It was during this brief period, 1965 to 1969, that Piacentino created his minimal sculptures as well as a series of acrylics on canvas which the painting "AMARILLIS" (1965) surmises well. "DARK DULL PINK LARGE X" (1966) is an example of the meticulously varnished, minimal objects he created while exhibiting with other Arte Povera artists.^[7]

This transformation solidified his differences with other Arte Povera artists, whose works have been described as "rough-hewn" to Piacentino's "ultra-refined" surfaces,^[7] and in 1969 Piacentino began his "Vehicles" and "Wings" series which would not be associated with the Arte Povera movement.^[1]

1970s

The 1970s marked a shift in Piacentino's oeurve. The works he produced during this period were not unadorned pieces that have caused parallels to be drawn between him and West Coast American Minimalists,^[7] but works such as "MARBLED (PURPLE-BROWN) VEHICLE" (1969-1970).

The same attention to detail and refined surfaces that it is exampled in Piacentino's early works is still present in pieces such as "GRAY AND AMARANTH DECORATED AND INITIALED RECTANGULAR BAR" (1971), but with the incorporation of the artist's initials, "GP," into his work. This rectangular bar, which resembles to a decorative car bumper, is followed by an evolution of the same form transformed into flight inspired, "PINK-CREME PEARLESCENT SIGNED WALL WING" (1971).^[8]

This shift in Piacentino's work, away from pure minimalism while still maintaining a commitment to blemish-less surfaces, is in line with these words from Germano Celant:

"It is in this historical climate of oscillation between art and design, handcrafts and industry, the useful and the useless, the one-off piece and the mass-produced object, and between the autonomy and heteronomy of pure creation, that we can place the contribution of Piacentino, whose otherness and uniqueness lie precisely in the dialectic between the two poles, Pop and Minimal. Since 1966 his sculptures have been aiming for a result that transcends the functional object, even though the latter remains recognizable as a possible industrial product with decorative characteristics, as it is derived from a culture steeped in applied science, handicrafts and the precision of mechanics and sophisticated engineering processes."^[9]

Piacentino's work continued to evolve. 1972 to 1973 Piacentino created his first large canvas on the Wright Brothers, "WRIGHT BROTHERS G.P. (I): prospect with propellers on vertical" (1972-1973).

In June 1977 Piacentino participated in "Document 6". The pieces "MARBLED VEHICLE" (1969) and "GRAY FRAME VEHICLE WITH COPPER FRONT MARK I" (1971-1973) were shown alongside works by 655 participating artists in Kassel, Germany.

1980s

Piacentino lived and worked in New York City from 1980 to 1981. Works he created during this period include "FLIGHT I - S.M. 55 - G.P. : front image on purple-gray vertical rectangle with side wings" and "G.P. FLIGHT TRIPTYCH : S.M. 55 profile and prospect on horizontal". In October 1981 Gesellschaft für Aktuelle Kunst e V., Bremen put on a solo exhibition of Piacentino's work. The show encompassed a range of Piacentino's work, from a minimal sculpture begun in 1966 to a painting completed in 1981.^[10]

Piacentino stated, in an interview with Isabella Puliafito in 1985, "Art has taught me to become a craftsman".^[11]

1990s to present

In 1993, Piacentino participated in XLV Venice Biennale, Venice. In November 2015 Fondazione Prada hosted an extensive solo show of Piacentino's work. Curated by Germano Celant, it consisted of 90 works ranging from 1965-2015.^[12]