26 October 2017 / 6:00 pm - 8:00 pm
CIMA hosts renowned curator and writer Robert Storr in conversation with Lawrence Weschler for a special evening of reflection on Louise Bourgeois, whose works are on display at CIMA in dialogue with those of ALBERTO SAVINIO, subject of the 2017-18 season. Storr will discuss the art and life of Bourgeois, subject of Intimate Geometries, his groundbreaking 828-page monograph released by Monacelli Press in 2016. The conversation will touch as well on the work of Savinio and the affinities between the two artists.
$10 general; free to CIMA members and students with valid ID.
30 October 2017 / 6:30 pm - 8:00 pm
Join us on Monday, October 30, for a private evening visit to the recently opened Modigliani Unmasked, the first exhibition in the United States to focus on Amedeo Modigliani’s early work made in the years after he arrived in Paris in 1906. The exhibition puts a spotlight on Modigliani’s drawings, with a large selection acquired directly from the artist by Dr. Paul Alexandre, his close friend and first patron. These works — many of which are being shown for the first time in the U.S. —illuminate how Modigliani’s heritage as an Italian Sephardic Jew is pivotal to understanding his artistic output. The exhibition includes approximately 150 works, those from the Alexandre collection as well as a selection of Modigliani’s paintings, sculptures, and other drawings from collections around the world. Modigliani’s art is complemented by work representative of the various multicultural influences — African, Greek, Egyptian, and Asian — that inspired the young artist during this lesser-known, early period.
CIMA Members will receive a private invitation link to RSVP for this event
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Amedeo Modigliani, Lunia Czechowska, 1919. Oil on canvas, 311Ž2 x 201Ž2 in. (80 x 52 cm), Museu de Arte de São Paulo. Photograph by João Musa.
01 November 2017 / 6:00 pm - 8:00 pm
Please join us for a panel discussion in celebration of the third edition of “The Bridge” Book Award, with Eli Gottlieb, 2016 American fiction winner; the 2017 Italian winners, Andrea Inglese for fiction and Antonella Tarpino for nonfiction; and Maria Ida Gaeta, Director of the Casa delle Letterature, Rome, acting as moderator.
The Bridge Book Award is the creation of the Casa delle Letterature of the Municipality of Rome, the American Initiative for Italian Culture (AIFIC), and the U.S. Embassy in Rome. It is designed to be a “bridge” connecting two cultures, the Italian and the America, in order to promote knowledge of the most recent literary trends in the two countries. The award is conferred annually to four authors: one work of fiction recently published in Italy and one recently published in the United States; and to one work of nonfiction recently published in Italy and the United States. The award consists of a sum to cover the translation cost into the opposite language, a monetary prize for the winners, and a sum to cover travel costs. Every effort is made to find a publisher for the book in the country of non-origin. This third edition of the prize has also been sustained by other Italian institutions, including the Center for the Book and for Reading of the Ministry of Cultural Heritage (Centro per il libro e la lettura, CEPELL), and the Federation of Italian Writers (Federazione Unitaria Italiana Scrittori, FUIS).
The American winners for 2017 are Jennifer Haigh for fiction and Anna Harwell Celenza for nonfiction. Haigh’s fifth novel Heat and Light, winner of The Bridge Award in 2017 for fiction, earned a Literature Award from the American Academy of Arts and Letters and was named a Best Book of 2016 by The New York Times, The Washington Post, The Wall Street Journal, and National Public Radio. Anna Harwell Celenza is the Thomas E. Caestecker Professor of Music at Georgetown University. Her most recent book, Jazz Italian Style: From Its Origins in New Orleans to Fascist Italy and Sinatra., is the winner of The Bridge Award in 2017 for nonfiction.
Free; RSVP required.
For speakers’ biographies:
14 November 2017 / 6:00 pm - 8:00 pm
Join us for a special talk on Alberto Savinio by renowned Italian art historian and critic Renato Barilli. Barilli will focus in particular on the nature of Savinio’s relationship with his better known brother, Giorgio de Chirico (a subject of the 2016-17 season at CIMA). He posits that if Giorgio, the elder of the two, received full protection and place of pride from their mother, Alberto, the younger, accepted his reduced consideration from their mother with humility, avoiding any competition with his sibling. So, in the first phase of his existence Alberto limited his activity to the field of music, and as far as the visual field, resigned to be only the herald of Giorgio’s talent, becoming the best theoretician of “Metafisica”. But in 1926, the period covered in CIMA’s exhibition, Alberto dared to defy the prohibition established by de Chirico to become a painter. Their common poetics, their metaphysical art, diverged in interesting ways. Giorgio used to cultivate such escape from banal reality, mainly by insisting on icons collected in the museums, recognized by the history of art. Alberto in contrast reserved to his painting a kind of lateral issue, searching for his themes in the world of animals, or in a systematic cultivation of the different ages of geology. To see these different approaches, nothing is more profitable than to compare the two artist’s portraits of their beloved mother. De Chirico’s is magnificent, solemn, sacred; Savinio’s, perhaps on account of being humiliated by her, was cruel, humorous, derisive, placing the head of a hen on her body, very prosaic, very vulgar. In the same manner, if his brother referenced magnificent aspects of past glories, such as ruins, monuments, solemn statues, Savinio depicted a childish world of toys, very near to kitsch.
Free; RSVP required.
Renato Barilli, professor emeritus at the University of Bologna, where he has taught for four decades, is one of the most important art historians and critics of the postwar period in Italy. He has pioneered the subject of “the phenomenology of style,” a field that focuses on the visual arts but extends as well into literature. His primary book on the topic, The Science of Culture and the Phenomenology of Styles, was published in English in 2012. A curator as well as the author of numerous essays and books, Barilli is particularly noted for his focus on postmodernism and the artistic movement he dubbed the Nuovi-Nuovi (the New New). He invites you to visit his blog, www.renatobarilli.it, where every Sunday he posts three essays linked to his prevailing interests in the visual arts, literary criticism, and politics.