03 November 2016 / 6:00 pm - 8:00 pm
One of the highlights of CIMA’s inaugural season, devoted to the Italian Futurist Fortunato Depero, was the display of Depero’s 1927 graphic design masterpiece, Depero Futurista, also known as The Bolted Book — on account of its distinctive binding: two industrial aluminum bolts. Join us on November 3 for an opportunity to see one of the rare original copies of this remarkable example of avant-garde bookmaking. Former CIMA Fellow Raffaele Bedarida will act as our guide through this “portable museum,” which Depero used as a kind of calling card to showcase his work. CIMA Founder-President Laura Mattioli will talk about the relationship her father, Gianni Mattioli, who was one of Depero’s principal patrons, had with the artist.
CIMA has partnered with Designers & Books and the Mart Museum of modern and contemporary art of Trento and Rovereto, which houses Depero’s archive, to produce a new facsimile of Depero Futurista and to bring this book and Depero’s life and work to a wider audience. The book will be produced via a Kickstarter campaign, launching October 18. It will include an accompanying readers guide, featuring essays from a variety of experts, original unpublished materials from the Depero archives at Mart, and translations of selected pages in the book.
To learn more about the book and this project, please visit the website: www.boltedbook.com, where one can preview all 240 pages of the book and learn about the history of the publication.
Free; reservations required.
08 December 2016 / 6:00 pm - 8:00 pm
Anthony Grafton and Carlo Ginzburg in conversation on Arnaldo Momigliano
A program organized by the Centro Primo Levi
CIMA is honored to host an evening of conversation with noted historians Anthony Grafton and Carlo Ginzburg exploring the work of Arnaldo Momigliano (1908-1987), one of the most distinguished 20th-century scholars of ancient and modern history. In 1939, following the passage of Italy’s racial laws, Momigliano was forced to leave his professorship in Turin. He continued his career at Oxford, London, and later in Chicago. His study of ancient and classic historiography and the emergence of national history are essential to the contemporary debate on religion, politics, and the understanding of the past. This program is presented in collaboration with the Centro Primo Levi and the Italian Cultural Institute and celebrates one year of Tablet in Print magazine. For additional information and readings, visit www.primolevi.org .
Free; reservations required.
19 January 2017 / 6:00 pm - 8:00 pm
Outliers, Mavericks and Risk-takers: The Emergence and Legacy of Downtown
A program organized by the New York Foundation for the Arts
CIMA is pleased to host “Outliers, Mavericks and Risk-takers: The Emergence and Legacy of Downtown,” a panel discussion organized by the New York Foundation for the Arts and held in collaboration with the SoHo Arts Network and the Grey Art Gallery of New York University, exhibiting Inventing Downtown: Artist-Run Galleries in New York City, 1952-1965.
Taking up the story where Inventing Downtown leaves off, this panel will examine downtown’s further evolution, from the opening of commercial galleries in SoHo in the late 1960s to the emergence of the Lower East Side as a new art hub. It will also shed light on the pioneering efforts of the adventurous risk-takers who helped make downtown the epicenter of the New York art scene. Speakers will include Betty Cuningham, Betty Cuningham Gallery; Michael Findlay, Acquavella Gallery; and Patricia Margarita Hernandez, P! Gallery.
Free; reservations required.
6pm – registration, opportunity for viewing Giorgio de Chirico / Giulio Paolini exhibition
6:25pm – start of panel conversation, followed by Q&A
7:30pm – end of program; opportunity for viewing de Chirico/Paolini
8pm – close
14 February 2017 / 10:00 am - 6:00 pm
The Center for Italian Modern Art is pleased to announce the Study Day, Post-It: Reconsidering the Postmodern in Italian Art and Performance Since 1965, organized in connection with the exhibition Giorgio de Chirico – Giulio Paolini / Giulio Paolini – Giorgio de Chirico and held in the days leading up to the 105th meeting of the College Art Association. Co-sponsored by the Italian Art Society, this Study Day seeks to bring together scholars from various disciplines and approaches to consider the place of 20th-century Italian art in relation to postmodernism.
The Call for Papers is currently open. Proposals will be accepted through 5pm on Tuesday October 18th. Participants will be notified by November 18th.
The theoretical framework for postmodernism was firmly established in the Anglo-American art world and art history academy in the 1980s, concurrent with a new paradigm shift that displaced the teleological model of formalism. Yet the history of Italian art during the twentieth century bedevils the prefix “post”: strategies of irony, pastiche, appropriation, the simulacrum, the mis-en-abyme, temporal circularity and the performative, for example, appear in the work of de Chirico from 1915 until his death in 1978. De Chirico was highly influential on artists whose careers came to maturity in the 1960s, 1970s and 1980s, especially in Italy (not to mention Warhol’s well-known admiration for the Italian “master”). Yet, one might question to what degree the term postmodernism is even applicable in the Italian case. Or conversely, how do strategies of circularity, repetition, doubling and (art) historical citation in late twentieth century Italian art offer new opportunities to reassess postmodernism in the visual arts on the whole?
Interrogating definitions of the post modern and of Italian art since 1965, this conference aims to refocus studies before and beyond Arte Povera and even question its applicability to two notable members of the group, Giulio Paolini and Jannis Kounellis. We encourage papers devoted to figures such as Gino De Dominicis, Vettor Pisani, Carol Rama, Fabio Mauri, and Luigi Ontani, and those which will reconsider the so-called Transavanguardia – mainly by breaking the conceptual stronghold of such labels. To what degree does Italian performance art conform to or differ from other international practices? How did Italian critics and philosophers such as Renato Barilli, Eugenio Battisti, Gillo Dorfles, Umberto Eco and Gianni Vattimo theorize late or post-modernism in ways different from the French post-structuralists, whose texts have dominated Anglo-American critical theory in recent decades? Dorfles and Eco, for example, were among the few critics to write on kitsch in the 1960s, challenging Clement Greenberg’s polarizing and influential take on the subject. How do Italian artists reconceive gender and corporeal boundaries and the gaze in self-portraiture (notably de Chirico, Carol Rama, Clemente, De Dominicis, Ontani) in ways that prefigure or parallel feminist practices elsewhere? How have Italian photographers participated and embraced conceptual practices that entail appropriation, doubling, and performance (notably Ugo Mulas, Luigi Ghirri, Franco Vaccari, Mario Cresci, Mimmo Jodice)? We welcome papers across mediums and disciplines, including architecture, film, photography, and the decorative arts.