CIMA Summer Intern Celia Karpatkin reports on the SoHo Arts Network’s outing last week to the Hudson Valley to see Dia:Beacon and Magazzino Italian Art.
CIMA Travel Fellow Valeria Federici describes the making of Forte Prenestino—a former military fort in Rome—into a site for art and activism. This research forms part of her PhD dissertation for Brown University.
On Feb. 15th the CIMA family was warmly invited to ANOTHERSPACE, a not-for-profit program founded by art historian and collector Estrellita B. Brodsky as part of the activities of the Daniel and Estrellita B. Brodsky Family Foundation, to broaden international awareness and appreciation of art from Latin America.
The Archive of the 20th century (Archivio del ’900) at the Mart Museum (Rovereto) offers insight into a range of subjects related to modern and contemporary Italian art. In addition to Futurism, Architecture, and Critical History, the collections include an impressive selection of materials related to Visual Poetry. During my research sessions at the Mart archives, I explored the latter topic in particular, by viewing sources by or about Enrico Baj, Mirella Bentivoglio, Maria Lai, Ketty La Rocca, Lucia Marcucci, Stelio Maria Martini, Lamberto Pignotti and others. The aforementioned artists paid attention to the domestic realm, which is the subject of my book manuscript in progress.
A recent focus exhibition on Giorgio de Chirico at the Casa Museo Boschi Di Stefano in Milan, which centered around the 1928 painting “The School of Gladiators: The Fight,” brought new attention to the Gladiators series undertaken by the artist in the 1920s in Paris. A number of former CIMA fellows contributed to the programming.
As we approach the last days of the Giorgio de Chirico – Giulio Paolini exhibition season, CIMA 2016-17 Fellow Sophia Farmer takes a look at where else in New York City you can see paintings by Giorgio de Chirico.
In 1936, Giorgio de Chirico headed for New York City, but he had been dreaming of the…
The protean nature of Francis Picabia’s art is well explored in MoMA’s impressive survey, which is organized chronologically and includes all the major bodies of work that Picabia produced in his career: Impressionist, Cubist, Dadaist, Surrealist, kitschy Figurative, Abstract. The subtitle of the show, “our heads are round so our thoughts can change direction,” hints at the circularity and the extraordinary creativity of Picabia’s oeuvre.
One of the benefits of an internship at the Center for Italian Modern Art is immediate access to SoHo, – CIMA’s Summer 2016 Interns review a rebirth of the arts in this ever-changing neighborhood.
CIMA 2014 Travel Fellow Laura Moure Cecchini visits the Wolfsonian in Miami and explores its research library, which features rare books and periodicals, postcards, posters, and other ephemera.
The exhibition titled “Painting in Italy 1910s-1950s: Futurism, Abstraction, Concrete Art,” presents works of Italian abstract art, bringing together fifty years of history over two floors.