Italian Modern Art

Italian Modern Art Authors

Nell Andrew is an Associate Professor of Art History and Co-director of the Interdisciplinary Modernisms Workshop at the University of Georgia, Athens. Her publications may be found in Art Journal (2009, 2014) and in anthologies such as Film, Art, New Media: Museum Without Walls? (New York: Palgrave MacMillan, 2012) and The Modernist World (London: Routledge, 2015). Her forthcoming book on the intersection of Avant-garde dance, film, and the development of abstract painting in late-nineteenth- and early-twentieth-century Europe is under contract with Oxford University Press.
Raffaele Bedarida is an art historian and curator specializing in twentieth-century Italian art and politics. In particular, his research has focused on cultural diplomacy, migration, and cultural exchange between Italy and the United States. He is an Assistant Professor of Art History at Cooper Union, and regularly lectures on modern and contemporary art topics at the Solomon R. Guggenheim Museum and MoMA. Bedarida is the author of two monographs in Italian, Bepi Romagnoni: Il Nuovo Racconto (Milan: Silvana Editoriale, 2005) and Corrado Cagli: La pittura, l’esilio, L’America (Rome: Donzelli, 2018; English edition upcoming), and numerous articles for academic journals (International Yearbook of Futurism Studies, Oxford Art Journal, Tate Modern’s In Focus) and exhibition catalogues (MART, Rovereto; CIMA, New York; Fundación Juan March, Madrid; Frederick Kiesler Foundation, Vienna). For his CIMA fellowship, Bedarida worked on Fortunato Depero’s time in the United States and the activity of his Futurist House in New York’s Chelsea neighborhood. He holds a PhD from the Art History Department of the CUNY Graduate Center, as well as MA and BA degrees in Art History from the Università degli Studi di Siena. Bedarida is currently working on the manuscript for his book: ‘Like a Giant Screen:’ The Promotion of Contemporary Italian Art in the United States, 1935–1969.
Fabio Belloni (Ferrara 1980) studied at the University of Udine and was a post-doctoral fellow at the Center for Italian Modern Art in New York. He is currently a Researcher in History of Contemporary Art at the University of Turin. His publications include: Un’idea di pittura. Astrazione analitica in Italia, 1972–1976 (Udine: Musei civici, 2015); Militanza artistica in Italia, 1968–1972 (Rome: L'Erma di Bretschneider, 2015); "Incontro al Museo (1968) e La colonna dorica (1976). Maurizio Fagiolo dell’Arco su Giulio Paolini" (in Ricerche di Storia dell’Arte 124, Rome: 2018); “L’ultimo quadro di storia” (in Renato Guttuso. L'arte rivoluzionaria nel cinquantenario del '68. Milan: Silvana Editoriale, 2018).

Günter Berghaus

Günter Berghaus is a Senior Research Fellow at the University of Bristol and has been a Guest Professor at Brown University, Providence/RI and the State University of Rio de Janeiro. He has been the principal organizer of several international conferences and held research awards from the Polish Academy of Sciences, the German Research Foundation, the Italian Ministry of Culture, the British Academy, and the Brazilian Ministry of Education. He has published over 20 books on various aspects of theatre and performance studies, art history and cultural politics, including J.N. Nestroys Revolutionspossen im Rahmen des Gesamtwerkes (1977), Die Quellen zu Andreas Gryphius' Trauerspiel "Carolus Stuardus" (1984), Die Aufnahme der Englischen Revolution in Deutschland, 1640–1669 (1989), Theatre and Film in Exile (1989), The Genesis of Futurism: Marinetti's Early Career and Writings, 1899–1909 (1995), Fascism and Theatre (1996), Futurism and Politics (1996), Italian Futurist Theatre (1998), On Ritual (1998), International Futurism in the Arts and Literature (2000), Avant-garde Performance: Live Events and Electronic Technologies (2005), Theatre, Performance and the Historical Avant-garde (2005), F. T. Marinetti: Selected Writings (2006), Futurism and the Technological Imagination(2009), Handbook of International Futurism (2018), amongst others. His writings have been translated into Chinese, French, Georgian, German, Hungarian, Italian, Japanese, Portuguese, Russian, Spanish. He currently serves as general editor of the International Yearbook of Futurism Studies and of International Futurism 1945–2015: A Bibliographic Handbook.

Flavio Fergonzi

Flavio Fergonzi was born in Pavia in 1963. He teaches the History of Modern Art at the Scuola Normale Superiore di Pisa. His research interests include the sculpture of the nineteenth century (Rodin and Michelangelo. A Study of Artistic Inspiration. Philadelphia: Philadelphia Museum of Art, 1997) and of the twentieth century (L’arte monumentale negli anni del fascismo. Arturo Martini e il Monumento al Duca d’Aosta. Turin, Allemandi: 1992, with Maria Teresa Roberto). He has also worked on the history of twentieth-century art criticism (Lessicalità visive dell’Italiano. La critica dell’arte contemporanea 1945-1960. Pisa: Scuola Normale Superiore, 1996), and on Italian twentieth-century Avant-Garde (The Mattioli Collection: Masterpieces of the Italian Avant-Garde. Milan: Skira, 2003; Filologia del 900. Modigliani Sironi Morandi Martini. Milan: Electa, 2013). He is currently studying Jasper Johns' influence on Italian Art of 1950s and 1960s.
Virginia Gardner Troy is an art historian who examines twentieth-century textiles in terms of their visual, technical and contextual significance. She is interested in twentieth-century designers who collected and admired non-Western and ancient textiles. She has authored two books, The Modernist Textile: Europe and America 1890–1940 (2006), and Anni Albers and Ancient American Textiles: From Bauhaus to Black Mountain (2002), which was recently translated into Japanese, and has published articles on Appalachian weaving, weaving during the Cold War, Bauhaus textiles, Mary Hambidge, Marie Cuttoli and pictorial tapestry, and the display of textiles. She is presently working on a book about the work of Mary and Jay Hambidge and their theory of Dynamic Symmetry. Dr. Troy is an Associate Professor of Art History at Berry College in Georgia. She has a Bachelor’s Degree in Art Education from Western Washington University, a Master’s in Art History from the University of Washington, and a PhD in Art History from Emory University.
Melania Gazzotti is an Italian art curator and art historian. Since the beginning of her career she has specialized in studying the way language was used in nineteenth-century art and has curated several exhibitions and catalogues on this subject. She has a special interest in artists' books and magazines, as well as in Futurism, Visual and Concrete poetry. Between 2004 and 2010 she collaborated with the Museo d'Arte Moderna e Contemporanea di Trento e Rovereto (MART), where she worked in the Specialist Art Library and in the Collections and Exhibitions Departments. In 2013, she was awarded the Hilla Rebay International Fellowship offered by the Solomon R. Guggenheim Museum, which afforded her the opportunity to work at the Solomon R. Guggenheim Museum in New York, the Guggenheim Museum in Bilbao, and the Peggy Guggenheim Collection in Venice. In 2016 she was awarded the Beinecke Visiting Postdoctoral Scholar Fellowship by Yale University. She is currently collaborating with the Italian Cultural Institute in New York.
Giovanna Ginex is an independent art curator and art historian based in Milan. She specializes in different aspects of nineteenth- and twentieth-century art, including painting, sculpture, photography, and design. She has collaborated with many institutions in Italy and abroad. Her most recent publications include La meraviglia della natura morta, 1830–1910. Dall’Accademia ai maestri del Divisionismo, exh. cat. (Milan: Cassa di Risparmio di Tortona-Skira, 2011); “Rembrandt Bugatti: From Milan to Paris,” in Rembrandt Bugatti: The Sculptor 1884–1916, eds. Philipp Demandt and Anke Daemgen, exh. cat. (München: Hirmer Verlag, 2014); Una musa tra le ruote. Pirelli: un secolo di arte al servizio del prodotto (Milan: Corraini, 2015); Elsa Smithgall-Erica E. Hirshler-Katherine M. Bourguignon-Giovanna Ginex, eds., William Merritt Chase: A Modern Master, exh. cat. (Washington D.C. and New Haven: The Phillips Collection and Yale University Press, 2016); Giovanna Ginex, “Sono Fernanda Wittgens”. Una vita per Brera (Milan: Skira, 2018).
Laura Mattioli is the Founder and President of the Center for Italian Modern Art (CIMA), as well as a member of its Advisory Committee. As an art historian, curator, and collector, she specializes in twentieth-century Italian art and has published, lectured, and presented extensively on the subject. Since 1983, Mattioli has been the curator responsible for the collection of her father, Gianni Mattioli. Considered one of the most important aggregations of Italian avant-garde and modern art, the collection has, under this stewardship, loaned works to institutions throughout the world, including the Peggy Guggenheim Collection in Venice.
After earning a degree in Physics at the State University of Milan, Gianluca Poldi (Milan 1971) received his PhD in Conservation Science at the University of Florence, then a PhD on humanistic subjects (study of ancient and erased texts) at the University of Bergamo. He taught Basic Physics, Archaeometry and Conservation Science at different Italian Universities (Milan, Verona, and Bergamo), directed two editions of the Master in Conservation Science for paintings (Verona) and collaborated for some years with the Institute of General Applied Physics of the University of Milan. In 2005, he founded the Laboratory for Non-Invasive Analyses on artworks of the University of Verona (LANIAC). He then got a postdoctoral position at the University of Bergamo. Together with Giovanni C.F. Villa, director of the Visual Art Centre (CAV) of the University of Bergamo, he opened the section Diagnostics for Cultural Heritage. He currently collaborates with the CAV and he conducts a freelance activity supporting restorers, art historians, collectors, auction houses and institutions like the Superintendence of Cultural Heritage. He is frequently involved in projects regarding scientific catalogues and exhibitions, where analyses can have a complementary role. His research deals with non-invasive examination mainly performed using portable instruments, to study polychrome artefacts of various kinds and ages (paintings, drawings, sculptures, textiles, wood tarsia, etc.) or palimpsests. He is particularly interested in the joined use of different technologies, both non-invasive and invasive, and in the dialogue between scientific and humanistic competences. He has been a consultant for many projects regarding conservation science and authentication, and carried out examinations on thousands of artworks in Italian and European public or private collections. He has been on the board of the Italian Association of Archaeometry (AIAr). He has performed many broad campaigns on works by Andrea Mantegna, Cosmé Tura, Antonello da Messina, Giovanni Bellini, Cima da Conegliano, Bramantino, Bernardo Zenale, Giorgione, Titian, Tintoretto, Lorenzo Lotto, Giambattista Tiepolo, Francesco Hayez, Giovanni Boldini, many Divisionist painters, Futurists (Boccioni, Depero), Modigliani, De Chirico, Giorgio Morandi, Lucio Fontana and Josef Albers. He has published more than 170 works, including essays and scientific papers, and curated more than ten books. He is currently working on Leonardo’s drawings.
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About Italian Modern Art

CIMA’s online journal, Italian Modern Art, supports the organization’s mission to promote the advancement of new scholarship in the field of twentieth-century Italian art. Each year, CIMA organizes an exhibition that serves as the main research topic for its international fellowship program and programmatic activities. At the heart of these activities are CIMA’s signature Study Days…

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