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Join us on Saturday, June 1, the last day of Metaphysical Masterpieces 1916–1920: Morandi, Sironi, and Carrà, for a special Open House!  Don’t miss this final chance to enjoy a visit of this “beautiful and enlightening show” (Lance Esplund, The Wall Street Journal) in CIMA’s unique and intimate setting.

​Organized in collaboration with Pinacoteca di Brera (Milan), this exhibition is CIMA’s first group show and offers to the American and international public an extraordinary opportunity to view early works by Giorgio Morandi ​that are rarely displayed. Other highlights include a foundational Metaphysical painting by Giorgio de Chirico as well as important works by Carlo Carrà and Mario Sironi. All of them were produced in a very short, yet pivotal, span of years, between Futurism and the so-called “return to order” of the Twenties. CIMA’s exhibition and public programs aim to illuminate the cultural and socio-political contexts in which Metaphysical painting was born and developed, broadening our understanding of this provocative yet short-lived style.

It is time to say goodbye: these paintings will soon be housed at ​the Brera Modern – ​which is scheduled to open in 2020 as ​Milan’s newest public institution devoted to modern art – and will likely not be exhibited in the United States for a long time after, and never again will the works in this exhibition be displayed together as they are in this unique show.

The Open House will conclude with a light aperitivo reception with CIMA’s fellows and staff.

REGISTER HERE!

The post CLOSING DAY OPEN HOURS appeared first on CIMA.

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In celebration of the end of our season, join us for a special final event of poetry and music inspired by Metaphysical Painting. Presented in collaboration with Innuan and A Public Space, for the first time at CIMA we will host a live music performance intertwined with a dramatic reading of Giorgio de Chirico’s poems, written from the 1910s through the 1970s, recently translated into English by celebrated American poet Stefania Heim.

Before and after the performance, make sure to toast with us with a glass of prosecco to salute another season of modern Italian art in NYC!

This special program will have discounted tickets for members and students.

Registration required.

RESERVE A SEAT!

Program schedule:

6 – 6.30pm – registration, aperitivo, and viewing of Metaphysical Masterpieces

6:30 – 7.45pm – Music and Poetry Program (Poems by de Chirico read by Stefania Heim; Music by Alessandro Rolla, Clara Iannotta, Stefano Gervasoni, George Frideric Handel, Roxana Pavel Halvorsen, performed by Inmo Yang and Dana Kelley).

8pm – evening concludes

For more information:

Stefania Heim is the author of the poetry collections A Table That Goes On for Miles (Switchback Books, 2014) and HOUR BOOK (Ahsahta Books, 2019). Geometry of Shadows, her book of translations of metaphysical artist Giorgio de Chirico’s Italian poems, will be published in a bilingual edition by A Public Space Books in May. Stefania is the recipient of a 2019 Translation Fellowship from the National Endowment for the Arts.

Copies of the book with be available for sale.

The mission of Innuan is to bring positive and transformative experience, creating a fully immersive experience for all patrons of the arts. They believe that combining music and art can create a visual, sonic and spatial experience all in its own – “a symphony of senses.” For the past two years, they are proud to present numerous collaborations with different art institutions and galleries including Cornell University Johnson Museum of Art, Columbia University Zukerman Institute, and Pratt Institute Gallery House. 

Inmo Yang violin | Winner of 2015 Paganini International Violin Competition

Dana Kelley viola | Winner of Sphinx, member of Argus String Quartet

Korean violinist Inmo Yang has been hailed by the Boston Globe for his “…seamless technique and a tender warmth of tone,” combined with “…an ability to project an engaging sense of inner sincerity through his playing.” In March 2015, he won the 54th International Violin Competition “Premio Paganini” in Genoa, Italy, marking the first time–since 2006–that the Paganini Competition jury awarded First Prize. He also garnered the following special prizes: Youngest finalist, Best performance of the contemporary original piece, and Performance most appreciated by the audience–confirming The Violin Channel’s praise of Inmo as “one of the new generation’s most talented young string virtuosi.”

Violist Dana Kelley has been a top prizewinner in the Sphinx Music Competition and the Irving M. Klein International String Competition. She is a member of the Argus Quartet, the 2017-2019 Graduate Quartet in Residence at The Juilliard School. The Argus Quartet was named the First Prize Winners of both of the 2017 M-Prize Chamber Arts Competition and the 2017 Concert Artists Guild Victor Elmaleh Competition.

Full bios here.

The post An Evening of Poetry and Music Inspired by Metaphysical Art appeared first on CIMA.

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Since 2004, Claudia has been lecturing both in academia and museums, teaching across a range of areas and periods in Italian art history spanning from the fourteenth to the mid-twentieth century. She was a Visiting and Associated Lecturer in Renaissance and Baroque to Neoclassical Art at Buckingham and Bath Spa Universities (2016–2019), a Teaching Assistant at the Warburg Institute (2014), and worked for three years at the Estorick Collection of Modern Italian Art as an Education and Exhibition Assistant (2008–2011). She is also an experienced tour guide, having led bespoke guided tours to museum permanent collections and temporary exhibitions for years, both in Italy and the UK. Claudia has published extensively in the fields of the classical tradition and fourteenth- to eighteenth-century art history, contributing essays, articles and catalogue entries to a number of edited volumes, journals, exhibition catalogues and conference proceedings. She is a founding member of the association and on-line journal Engramma. La tradizione classica nella memoria occidentale, on whose editorial board she sat until 2015.

During her fellowship at CIMA, Claudia will investigate Marino Marini’s sculpture in light of its appropriation and reinterpretation of models from antiquity, particularly from ancient Etruria and Egypt. Her research project aims to reassess Marini’s work within the context of the wider reception of those civilizations in late nineteenth- and early twentieth-century Italy, and in relation to the coeval changing perception of the ancient past and the Fascist redefinition of a new national identity.

The post Claudia Daniotti appeared first on CIMA.

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Joanna Fiduccia received her Ph.D. from the University of California, Los Angeles. Her research explores the relationship between aesthetic forms and ideology in European modernism, in particular through the intersection of sculpture and political theory in the modernist return to figuration. She is currently Assistant Professor of Modern and Contemporary Art History at Saint Anselm College. Her current book project, Hollow Man: Alberto Giacometti and the Crisis of the Monument, the first extended study of Giacometti’s sculpture between 1935 and 1945, examines the artist’s crisis of figuration through rhetorical figurations of crisis in the literature and political philosophy of wartime France and Switzerland.

Alongside her scholarly work, Joanna is co-founder and editor of the journal of art history apricota, and the author of essays and reviews on contemporary art for publications including Artforum, East of Borneo, and Parkett, as well as numerous catalogues. Her research has been supported by the American Council of Learned Societies, the Swiss Confederation, the Center for European and Eurasian Studies at UCLA, and the Society of French Historians. She is also a member of ESTAR(SER), a collective of artists, historians, and social scientists that researches the history of formal practices of attention.

During her CIMA fellowship, Joanna will examine Marino Marini and Alberto Giacometti’s parallel investigations into the portrait bust in the late 1930s and 1940s in light of their shared identification with the ancient Etruscans, at the very moment when debates about the Etruscans’ origins began to serve as staging grounds for the tensions and racial politics of the Pact of Steel.

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Michele Amedei received his Ph.D from the University of Florence, Pisa and Siena. Michele has always been interested in studying the lively exchanges between American and Italian artists. His research concerns, on the one hand, the presence of U.S painters and sculptors in Florence in the first half of the nineteenth century (this was the focus of his Ph.D dissertation) and, on the other, American artists such as John Singer Sargent, whose friendship with the Piedmontese painter Alberto Falchetti was the topic of an article he published in ‘Apollo’ in 2018. Most recently, Michele has directed his attention towards the connections between U.S. artists and the Florence Academy of Fine Arts in the first half of the twentieth century. He is also collaborating on the organization of an exhibition dedicated to the Romantic painter Giuseppe Bezzuoli, scheduled to open at the Galleria degli Uffizi in 2020. Between 2016 and 2017, Michele was the Terra Foundation Pre-Doctoral fellow at the Smithsonian American Art Museum. In September and October of 2017, he additionally received a bimonthly grant from the U.S. Capitol Historical Society, Washington, D.C. to support his Ph.D research.

As a fellow at CIMA, Michele will study Marino Marini’s connections with a group of American artists, art dealers and collectors including Joseph H. Hirshhorn, Curt Valentin, Alfred Hamilton Barr, Irving Penn and Alexander Calder, whom the sculptor befriended between 1948 and the 1960s.

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Gianmarco Russo is a PhD candidate in Art History at the Scuola Normale Superiore (Pisa). Under the supervision of Massimo Ferretti, he is currently completing his doctoral dissertation on Alvise Vivarini, with special attention to the relationship of the master with Giovanni Bellini and to nineteenth- and twentieth-century readings of Renaissance art. He attended both the Scuola Normale Superiore and the University of Pisa, defending both his BA and his MA thesis on Lazzaro Bastiani, a Venetian painter until now unjustly interpreted as solely outdated. He is preparing Bastiani’s first catalogue raisonné.

Gianmarco’s research focuses on fifteenth-century painting in Venice and Italian modern sculpture, addressing both connoisseurship and criticism issues. He has published articles in leading academic journals on Roberto Longhi (“Paragone,” 2015; “Prospettiva,” expected 2019), Adriano Cecioni (“Ricerche di storia dell’arte,” 2018), Lazzaro Bastiani (“Paragone,” 2018) and the Vivarinis (“Humanistica,” expected 2019). He presented papers in several international conferences on Giovanni Bellini (Fondazione Cini), Lazzaro Bastiani (University of Bologna), Carlo Ludovico Ragghianti (Fondazione Ragghianti) and Neri Pozza (Scuola Normale Superiore), which were then published in the proceedings. He is a contributor to Dizionario Biografico degli Italiani, with entries on Niccolò Rondinelli (2017) and Antonio, Bartolomeo and Alvise Vivarini (expected 2020).

For the Marino Marini exhibition held in Pistoia and Venice in 2017 and 2018, respectively, Gianmarco delved into the artist’s female nudes through a systematic analysis of Marini’s stylistic evolution and a fresh study of archival documentation. Gianmarco’s research at CIMA aims to show that Marini’s sculpture may be better comprised by regarding it as a struggle between ‘composition’ and ‘poetry.’ Studying the female figures created between 1938 and 1945, he seeks to demonstrate that Marini’s idea of plastic construction of volumes on one hand, and of expressive power of surfaces on the other, is deeply rooted in the figurative debate on fifteenth- and sixteenth-century sculpture sparked among contemporary artists, critics, collectors, and museum curators.

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Erica Moretti is an Assistant Professor of Italian at the Fashion Institute of Technology-SUNY. She received a Ph.D. in Italian Studies from Brown University and a diploma in American Studies from Smith College. Her research — rooted in biopolitics, gender and sexuality studies, and critical theory — focuses on pacifism, refugees and displacement, and humanitarianism in Modern Italy. With Sharon Wood, she published a collection of essays on British-Italian writer Annie Chartres Vivanti. She has published on assimilation policies in the United States in the Progressive era, the Italian feminist movement, and Italian colonialism, among other topics. She is currently working on a book project that explores changes in pacifist thought in the first half of the twentieth century in Europe through the work of Italian educator Maria Montessori.

For her CIMA travel fellowship, she will explore the revolution of child-centered and child-sized furniture in the school environment in turn-of-the-century Italy. The goal of this study is to understand how progressive design for children manifested itself through a unique blend of political, social, artistic and cultural forces. Together, these forces aimed at re-shaping the public sphere and re-thinking the notion of democratic and inclusive citizenry. She will conduct research at the Archivi delle Arti Applicate Italiane del XX Secolo, Archivio Randone, Archivio Cambellotti, and the Wolfson Collection in Rome, Bologna, and Genoa, focusing on the work of painter and potter Francesco Randone, founder of the Scuola d’Arte Educatrice; artist and designer Duilio Cambellotti; and pedagogue Alessandro Marcucci.

The post Erica Moretti appeared first on CIMA.

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Jennifer Scappettone is an Associate Professor of English, Romance languages and literatures, creative writing, and gender and sexuality studies at the University of Chicago, who works at the juncture of scholarly research, translation, and the literary arts, on the page and off. She is the author of Killing the Moonlight: Modernism in Venice (Columbia University Press, 2014), a finalist for the Modernist Studies Association Book Prize, and her translations of the polyglot poet and refugee from Fascist Italy Amelia Rosselli were collected in Locomotrix (University of Chicago Press, 2012), which won the Academy of American Poets’s biennial Raiziss/De Palchi Prize. Scappettone curates PennSound Italiana, a sector of the audiovisual archive hosted by the University of Pennsylvania devoted to marginalized and experimental voices in Italian contemporary poetry. 

Scappettone’s recent writings can be found in journals such as alfabeta2, Asymptote, Boston Review, boundary2, Critical Inquiry, e-flux, Jacket2, Moderna, Modern Philology, Nuovi argomenti, and PMLA; in the collections Reading Experimental Writing (Edinburgh University Press, 2019), Geopoetics in Practice (Routledge, 2019), Counter-Desecration: A Glossary for Writing Within the Anthropocene (Wesleyan University Press, 2018), Poetics and Precarity (SUNY Press, 2018), The Fate of Difficulty in the Poetry of Our Time (Northwestern University Press, 2017), Terrain Vague: The Interstitial as Site, Concept, Intervention (Routledge, 2013), and The Princeton Encyclopedia of Poetry and Poetics (Princeton University Press, 2012); and in the catalog for the US Pavilion of the 2018 Venice Architecture Biennale, Dimensions of Citizenship. She has also published several chapbooks and two full-length books of poetry: From Dame Quickly: Poems (Litmus Press, 2009) and The Republic of Exit 43: Outtakes & Scores from an Archaeology and Pop-Up Opera of the Corporate Dump (Atelos Press, 2016). Her work has been recognized by fellowships, residencies, and grants from foundations such as the Stanford Humanities Center, the Bogliasco Foundation, Djerassi Resident Artists Program, the Getty Research Institute, the Gladys Krieble Delmas Foundation, and the Huntington Library, and she was a 2010-11 Rome Prize Fellow in Modern Italian Studies.

For her Affiliated CIMA – Civitella fellowship she will be working on a book manuscript devoted to the visual, spatial, and sonic transformations of verse by modernist and postwar poets such as Emilio Villa and Amelia Rosselli, whose expansions of poetic form in two and three dimensions carve out a space between national languages—reoccupying the utopian ideals of globality manifest in the futurist “wireless imagination” while deterritorializing both the poetry and the ideology of the patria.

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Antje K. Gamble received her Ph.D. in History of Art at the University of Michigan. Her research focuses on Italian modernist sculpture in the middle of the twentieth-century. From Fascism to the Cold War, Dr. Gamble’s work examines the exhibition, sale, and critical reception of Italian art and how it shaped and was shaped by national and international socio-political shifts. She is currently an assistant professor of Art History in the Department of Art & Design at Murray State University in Kentucky.

Her scholarship has been included in the recent volume Postwar Italian Art History Today: Untying ‘the Knot’ (Bloomsbury Press, 2018), where her chapter titled “Buying Marino Marini: The American Market for Italian Art after WWII” looks at politicized collection practices during the early Cold War. She also has two forthcoming essays: one on the 1949 exhibition “Twentieth Century Italian Art” at the Museum of Modern Art (MoMA) for a book due out late 2019 (The First Twenty Years at MoMA 1929-1949, Eds. Sandra Zalman and Austin Porter. London: Bloomsbury Press.), and another on the 1947-48 ceramic Crocifisso by Lucio Fontana for a 2020 Art Institute of Chicago (AIC) exhibition catalogue. Dr. Gamble is also working on a book project looking at the interdisciplinary importance of the 1950-53 exhibition “Italy at Work: Her Renaissance in Design Today” organized by the Art Institute of Chicago and the Brooklyn Museum and funded by the Marshall Plan.

During the CIMA-affiliated fellowship at the Civitella Ranieri Foundation, Dr. Gamble will be completing a book manuscript on the work of sculptor Marino Marini that tracks aesthetic shifts, both in parallel and opposition to larger geo-political shifts within and outside of Italy from Fascism through the beginning of the Cold War.

The post Antje Gamble appeared first on CIMA.

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On Thursday May 16, CIMA invites members on a private tour of Magazzino Italian Art, an art warehouse co-founded by Nancy Olnick and Giorgio Spanu located in the Hudson Valley in Cold Spring, New York. The tour will be led by Francesco Guzzetti, Magazzino scholar-in-residence and former Fall 2014 CIMA fellow!

Situated in an impressive, 20,000 square-foot building designed by Spanish architect Miguel Quismondo and based on an existing warehouse, Magazzino is devoted to Post-War and Contemporary Italian visual culture. Particularly notable is the museum’s array of works from the Arte Povera movement, which are drawn largely from the Olnick Spanu collection. Since March 1, 2018, Magazzino has held an ongoing show that features 12 major artists associated with Arte Povera, including Alghiero Boetti, Luciano Fabro, Mario Merz, Marisa Merz, Giulio Poalini, and Michelangelo Pistoletto. Comprehensively examining the careers of these figures, as well as the socio-cultural, political, and economic factors that impacted their work during the 1960s and ’70s, the scope of this exhibition reflects one of Magazzino’s most crucial objectives: to educate visitors about the historical background from which the artists and artwork of Arte Povera emerged and, in turn, promote appreciation for a movement that is often overlooked by American audiences.

Members who wish to join us for this special tour of Magazzino and its rich exhibition of Post-War art should plan to arrive at the museum or at the Cold Spring train station by 11am. The warehouse can be reached easily from New York by car or train (the Cold Spring train station is served by Metro-North Railroad trains on the Hudson Line and leave from Grand Central every hour). Those driving may meet us directly at the museum, while those taking the train should wait in the parking lot of the Cold Spring train station, where they will be picked up by shuttle buses sent by Magazzino.  Before finalizing your travel plans, we ask that you review the visitor information provided on Magazzino’s website and take note of the warehouse’s limited parking.

We look forward to seeing you in Cold Spring!

Please note: CIMA members will receive a private invitation link to RSVP for this event. Limited to 20 members only!

If you want to join CIMA Staff and Fellows for the train ride please send us an email at info@italianmodernart.org.

Photo credit: Marco Anelli, Gallery 1, Magazzino Italian Art.

The post MEMBERS ONLY TOUR: Magazzino Italian Art appeared first on CIMA.

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