Caterina Caputo received her PhD from the University of Florence, where she also worked as a tutor and gave academic support for the course in History of Contemporary Art. Her thesis, “Collecting, Displaying, Selling: Market Strategies and Dissemination of Surrealism between 1938 and 1950: the case of the London Gallery,” focused on the internationalization of Surrealism in the 1930s and 1940s, as well as on the role that Surrealists’ collections played in this context.
She has presented papers related to her research subjects in several international conferences in Italy, France, and the UK, and has published articles on Surrealism, Giorgio de Chirico, and collecting in journals such as Ricerche di storia dell’arte and Archivio dell’arte metafisica. In 2017 she participated in the Ecole de printemps (the International Consortium on Art History) and contributed to the Centre Pompidou Summer School with a topic concerning Surrealists’ collections. She also took part in academic research groups at the University of Florence, and in 2016 became a member of the Paul Mellon Centre Doctoral Research Network (London). Recently, Caterina has been awarded a postdoctoral fellowship at the Center for the History of Collecting at the Frick Collection.
For her CIMA fellowship, she will examine Giacomo Manzù’s critical reception in the US after World War II, specifically between 1949 and 1968. In this context, she will investigate the reception of Manzù’s oeuvre in the United States as well as the image of this artist as it was shaped by American critics, curators, and art dealers. In addition, her project aims to study the impact of the materiality of Manzù’s sculptures on the postwar American artistic scene, namely in a period when conceptual art and de-materialization absorbed the majority of artistic research.
Antonio David Fiore
Antonio David Fiore passed his Viva in November 2017, completing a fully funded PhD in History of Art at the Open University (UK) supervised by Tim Benton and Susie West. His research focused on the output of the Italian decorator Giulio Rosso (1895-1976), reconstructing Rosso’s career while considering the significance of his practice in the context of the decorative arts of the interwar period. Between September 2017 and January 2018, he worked as Associate Lecturer at the School of Art and Design of the University of Bath Spa, where he taught “Art and Design since 1945.”
Antonio graduated in Heritage Studies at the Tuscia University of Viterbo and was awarded a post-graduate diploma by La Sapienza University of Rome. Between 2006 and 2010, he worked as Assistant Lecturer for the Industrial Archaeology and History of Architecture course of the Faculty of Heritage Studies, Tuscia University, Viterbo. As an art historian researcher and cataloguer, Antonio has worked for various galleries and museums in Rome, including the Galleria Nazionale d’Arte Moderna, Museo della Centrale Montemartini, and Musei Vaticani – Modern Art Collection. He has contributed articles, studies, and catalogue entries to a number of different journals, conference proceedings, exhibition catalogues, and books. His monograph on the history of the Centrale Montemartini former power plant in Rome is to be published in summer 2018.
For his CIMA research project – Marino Marini: sculpture for the architecture – Antonio will engage with lesser known episodes of the sculptor’s interwar production, such as the commissions that he received for temporary and permanent spaces with a prominent propagandistic and ideological connotation: the Mostra della Rivoluzione Fascista in Rome (1932), the Palazzo dell’Arengario in Milan (1936), and the Palazzi delle Esedre in Rome (1938). Antonio’s aim is to enhance our understanding of Marini’s approach to decorative sculpture, balancing the sculptor’s own personal vision and favorite themes, with the dominant myths promoted by fascist propaganda.
Erica Bernardi received her Ph.D. from the University Ca’ Foscari in Venice. Her research focuses on Franco Russoli, the art historian, museologist and director of the Pinacoteca di Brera in Milano (Per un profilo intellettuale di Franco Russoli 1923-1977), and a book based on it is forthcoming. She is currently the curator of the Franco Russoli archive and collection, as well as collaborating with the Brera on historical research projects, and coordinating a work team regarding contemporary museology for ICOM – Italy.
After a specialization thesis on Gaudenzio Ferrari and the North Italian Renaissance, she ended up studying the criticism of the twentieth century—catalyzed by her work with Russoli’s archive. Her first project was the catalogue of La Raccolta Berenson (1962); during an internship at Villa I Tatti, Harvard University, she developed what became La nascita del Fogg museum nella corrispondenza Forbes-Berenson (1915-1928). She also catalogued and put online historical photographs from Berenson’s family archive.
Erica’s project for the CIMA fellowship investigates the American fortunes of Marino Marini from 1948—when he met the merchant Curt Valentin—to 1954, when one of his sculptures appeared in Billy Wilder’s famous film Sabrina as the background for a scene with Audrey Hepburn, a key indicator of his reception in the US.
Carlotta Castellani is an Italian art historian and archivist specialized in nineteenth- and twentieth-century art. She obtained her PhD in 2016 in Art History, Literature and Cultural Studies in a joint program with the Universities of Florence and Paris IV Sorbonne. Her thesis explored “The myth of the artist and of the work in Balzac’s Le chef d’œuvre inconnu.” She is currently completing a book edited by Max Seidel with her collaboration on this subject.
Since October 2017 she has been an associate scholar at the Kunsthistorisches Institut in Florenz – Max-Planck-Institut, where, since 2009, she has been the scientific assistant of Max Seidel, working on exhibitions and publications of twentieth-century Italian art (Francesco Clemente. Winter Flowers in New York City, Siena, Complesso museale Santa Maria della Scala, 28 June – 2 October 2016).
Since 2014, she has been responsible for the ordering and analytic study of the historical archive of the German artist residency Villa Romana, founded in Florence in 1905 by the painter Max Klinger. She published the results of this study in her book Il Salone Villa Romana. Uno spazio espositivo internazionale nella Firenze anni Ottanta curato da Katalin Burmeister. Ricostruzione di un archivio (Gli Ori, 2017). Her recent publications also include a book on the German avant-garde journal G. Material zur elementaren Gestaltung edited in Berlin between 1923-1926 (G. Una rivista costruttivista nella Berlino degli anni Venti «G» di Hans Richter, Cleup, 2018).
For her CIMA fellowship, her research will focus on the relationship between Marino Marini and the French painter Pierre-Auguste Renoir during the years of World War II, with special regard to the topic of the representation of the female body.
Elisabetta received her PhD from the School of Art History at the University of St. Andrews, Scotland (2017), with a thesis titled The Seasons in the City: Artists and Rural Worlds in the Era of Calvino and Pasolini. Her research, supervised by Dr Alistair Rider and presented internationally in Canada, Croatia, Sweden, England, and Scotland, explored notions of rurality in postwar Italy through the diverse art practices of nine Italian artists.
Prior to her doctorate, Elisabetta studied history of art in Torino and Urbino, and completed a Masters in Landscape, Culture and Art Management (Trentino School of Management, 2011). Since then, she has produced, researched, and co-curated participatory and community-based art projects in both Italy (Cittadellarte – Fondazione Pistoletto onlus, 2011, 2012; Master dei Talenti della Società Civile, 2013-15) and Scotland (Deveron Projects, 2012; 2017-18).
For her CIMA Travel Fellowship, Elisabetta will visit archives and libraries in Rovereto, Milan, Rome, Florence, Cuneo, Treviso, and Parma to develop her doctoral thesis into a book. Influenced by Environmental Humanities discourses, her research aims at presenting an alternative art-historical narrative of the experimental artistic panorama of the 1960s and 1970s, one that brings the countryside into the picture of the Italian art scene at the time.
Franco Baldasso is Director of the Italian Program and Study Abroad Program in Italy at Bard College, where he is Assistant Professor of Italian. He earned his PhD in Italian Studies at New York University in 2014, following a BA at the Università degli Studi di Bologna. His main research interests are 20th-century literature, art and intellectual history, and especially their intersections during periods of political/cultural transition. His work also examines the complex relations between Fascism and Modernism, the legacy of political violence in Italy, and finally the idea of the Mediterranean in modern and contemporary aesthetics. He authored a book on Holocaust survivor Primo Levi, Il cerchio di gesso. Primo Levi narratore e testimone (Bologna, 2007) and co-edited with Simona Wright an issue of Nemla-Italian Studies titled “Italy in WWII and the Transition to Democracy: Memory, Fiction, Histories.” His articles have appeared in Modern Language Notes, Romance Notes, Context, Nemla-Italian Studies, Poetiche, and Scritture Migranti. His awards include the A.W. Mellon Dissertation Fellowship, the NYU Humanities Initiative Honorary Fellowship, and the Remarque Institute Doctoral Fellowship. Franco contributes to publicbooks.org; he is also a member of the Advisory Board of the Italian journal Allegoria, as well as the scientific committee of the Archivio della Memoria della Grande Guerra of the Centro Studi sulla Grande Guerra “P. Pieri” in Vittorio Veneto (TV).
For his CIMA Affiliated Fellowship at the Civitella Ranieri Foundation he will revise his book manuscript tentatively titled: “Against Redemption: Literary Dissent during the Transition from Fascism to Democracy in Italy.”