Italian Modern Art

Italian Modern Art Authors

Serena Alessi received her PhD in 2015 from Royal Holloway University of London, where she also taught Italian language and culture. She subsequently held postdoctoral fellowships at The British School at Rome, at the Fondazione Cini in Venice, and at the Center for Italian Modern Art in New York. She is currently co-editing a publication on Italian literary heroines and national identity and she is preparing her monograph on the myth of Penelope in the Italian literary tradition. Her interests include contemporary Italian literature, feminism, and postcolonial studies. Serena is also a contributor to the literary blog criticaletteraria.org.
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.
Franco Baldasso is the recipient of the 2019 Rome Prize in Modern Italian Studies from the American Academy in Rome. He is the  Director of the Italian Program at Bard College, NY, where he is an Assistant Professor of Italian Studies. In his research, he examines the complex relations between Fascism and Modernism, the legacy of political violence in Italy, and the idea of the Mediterranean in modern and contemporary aesthetics. He has authored two books in Italian: Il cerchio di gesso. Primo Levi narratore e testimone (Bologna: Edizioni Pendragon, 2007), as well as Curzio Malaparte, la letteratura crudele. KaputtLa pelle e la caduta della civiltà europea (Rome: Carocci, 2019). He also co-edited an issue of Nemla-Italian Studies titled “Italy in WWII and the Transition to Democracy: Memory, Fiction, Histories.” He contributes to publicbooks.org, and is a member of the Advisory Board of the journal Allegoria, as well as the Archivio della Memoria of the Centro Studi sulla Grande Guerra “P. Pieri” in Vittorio Veneto, Italy. Baldasso is currently revising the manuscript for a book titled: “Against Redemption: Literary Dissent during the Transition from Fascism to Democracy in Italy.”
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.
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 Assistant Professor of Art History at Cooper Union, where he coordinates the History and Theory of Art program. 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 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 StudiesOxford Art Journal, Tate Modern’s In Focus) and exhibition catalogues (MART, Rovereto; CIMA, New York; Fundacion Juan March, Madrid; Frederick Kiesler Foundation, Vienna). His research has received support from the Italian Ministry of Art and Culture (MiBACT), The Terra Foundation for American Art, The Max Planck Institute of Art History, as well as CIMA, where Bedarida served as the inaugural fellow in 2013–14. He 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.
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 Milan; most recently she published the book Senza utopia non si fa la realtà. Scritti sul museo 1952–1977, based on her PhD dissertation. She is currently the curator of the Franco Russoli archive and collection, and collaborates with the Brera on historical research projects. She is also coordinating a work team regarding contemporary museology for ICOM – Italy. After writing 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.
Silvia Bignami is Associate Professor of the History of Contemporary Art at the University of Milan. She is a member of the Scientific Committee of PAC and coordinator of the Research projects of Cittadella degli Archivi di Milano. Her interests include the art market in Milan between the First and Second World Wars, the artistic debates recorded in reviews of the 1930s, and the work and writings of Lucio Fontana in the 1950s and 60s. She recently published “‘The chameleon Acconci’ e una copertina camouflage,” in L’uomo nero (nos. 14–15, 2018), and “Lo Stile. La Verve di Gio Ponti,” in Gio Ponti. Archi-designer (Cinisello Balsamo, Milan: Silvana Editoriale; New York, New York: Artbook/D.A.P; Vicenza, Italy: Graphicom, 2018).
Filippo Bosco is a PhD candidate at Scuola Normale Superiore of Pisa. His research, supervised by Flavio Fergonzi, deals with the problem of drawing in Italian Art in the ’70. From 2013 to 2018, he completed his B. A. and Master degrees in History of Art at the University of Pisa and at the Scuola Normale, submitting the dissertation Notes on Magic Realism. German and Italian painting in the Twenties. His publications concern Felice Casorati (Portraiture Conference, Durham 2018), Ubaldo Oppi (Oppi and Germany, exh. cat. Vicenza 2019), the modern reception of XV century graphics and Giuseppe Penone’s graphic work (Studi di Memofonte, 2018). After co-curating a temporary exhibition (Protoballa: young Balla in Turin, 2016) and the XIX century permanent collection (2017) in the Modern Art Gallery in Turin, he contributed to the catalogue of the Cerruti Collection in Rivoli (being published). He is currently spending a semester at the Freie Universität in Berlin.
Caterina Caputo received her PhD from the University of Florence, Pisa, and Siena. Her work addresses topics at the crossway of collecting, art market, cultural dissemination, and transnational exchanges related to Surrealism, Avant-gardes, and Modernity. She recently turned her PhD dissertation into the book: Collezionismo e mercato. La London Gallery e la diffusione dell’arte surrealista, 1938-1950 (2018), and she is working at the English version of the volume (forthcoming). She participated in several international conferences in Europe and the U.S., and published articles on Belgian and British Surrealism (Ricerche di storia dell’arte 2017; DFK’s Passage 2019, 2020), Giorgio de Chirico (StudiOnline 2016, 2019; 2020), the history of collecting (Getty Reasearch Journal 2020); she contributed to the “Art Market Dictionary” (Berlin: De Gruyter). In 2018 Caterina Caputo was awarded a postdoctoral fellowship at the Center for the History of Collecting at the Frick Collection and Art Reference Library, and in 2019 she was a research fellow at the Center for Italian Modern Art in New York. Further, she has been Visiting Scholar at the Cuny University (2019) and the Cini Foundation in Venice (2020). She collaborates with the University of Florence.
Carlotta Castellani received her Ph.D. in Art History, Literature, and Cultural Studies in a joint program of the Universities of Florence and Paris IV Sorbonne (2016). During her doctoral studies, she was responsible for the historical archive of the German artist residency in Florence’s Villa Romana. In 2019 she was awarded a Postdoctoral Fellowship at the Center for Italian Modern Art, in a joint program with the Graduate Center of the City University of New York. In 2020 she was awarded a Postdoctoral Fellowship with a project on “The impact of Raoul Heinrich Francé’s theories on El Lissitzky” in the research program “4A Lab. Art Histories, Archaeologies, Anthropologies, Aesthetics” based in Berlin (2020),” a cooperation of the Kunsthistorisches Institut in Florenz and the Stiftung Preußischer Kulturbesitz in Berlin. Her most recent book is Una rivista costruttivista nella Berlino anni Venti: «G» di Hans Richter (Padua, Cleup: 2018). Since 2019 she teaches Contemporary Art as Adjunct Professor at the University of Florence.
Laura Moure Cecchini is Assistant Professor of Art History at Colgate University, where she teaches courses on the global avant-gardes and modernisms. Her research remaps the history of Italian modern art by way of its entanglement in the Baroque, with a special focus on Fascist sculpture, painting, and architecture. She also studies the artistic and cultural exchanges between Italy and Latin America, in particular Mexico and Argentina, during the Fascist ventennio. Her research has been supported by grants from the National Endowment for the Humanities, Harvard University, CIMA, the Académie de France, and the Wolfsonian Collection, among other institutions. Her writings have appeared or are forthcoming in journals such as The Art Bulletin, Art History, Modernism/modernity, Italian Studies, and the International Yearbook of Futurist Studies.
Davide Colombo is Assistant Professor of the History of Contemporary Art at the University of Milan. He was a Terra Foundation for American Art Fellow in 2014, and has, since 2015, taken part in the research project “Art in Translation: The Reception of US Art in European Art Writing in the Cold Era” (ed. I.B. Whyte and C. Hopkins). Among his recent publications are “Transatlantic Exchanges: Piero Dorazio: Non-Objective Art vs. Abstract Expressionism?,” in Postwar Italian Art History Today. Untying ‘the Knot’ (ed. Sharon Hecker; Marin R. Sullivan; New York, NY: Bloomsbury Visual Arts, 2018), and “Unfulfilled Hopes or Misguided Expectations: Peggy Guggenheim and Italian Art,” in Peggy Guggenheim: The Last Dogaressa (eds. Karole P. B. Vail and and Gražina Subelyte; Venezia: Marsilio, 2019).
Sergio Cortesini is Associate Professor at the University of Pisa. He is the author of essays on various aspects of the political rhetoric and interactions of the Italian and American art scenes in the 1930s. His book One day we must meet: le sfide dell’arte e dell’architettura italiana in America 1933–1941 (Monza: Johan & Levi, 2018) discusses the diplomatic challenges assigned by the Italian Fascist government to modern art and architecture in New Deal America. He has also written on Emilio Vedova (“Semantica della rivolta e dell’umanismo in Emilio Vedova,” in Fenomenologia e Storia delle emozioni, ed. V. Fiorino and A. Fussi; Pisa: ETS, 2017), Damien Hirst (“Dropping Like Flies: Post-humanism in Damien Hirst’s Natural History Series,” Ricerche di Storia dell’Arte, no. 118, 2016), and the mobilization of the artists in the burgeoning Italian movement of homosexual liberation in the early 1970s (“La fondazione del FUORI e la mobilitazione degli artisti, 1971–1974,” Whatever: A Transdisciplinary Journal of Queer Theories and Studies, no. 2, 2019).
Prof. Dr. Damian Dombrowski is Associate Professor of art history and the Director of the Martin von Wagner Museum of the University of Würzburg. He has written numerous books and articles on a wide range of topics: late-medieval sculpture in Italy and Germany; Botticelli; Raphael; cross-cultural exchange between Italy and Germany in the Renaissance (especially sculpture and urbanism); German art and architecture, c. 1600; Baroque sculpture, especially Bernini; Neapolitan Baroque Painting; Giovanni Battista Tiepolo; Paul Cézanne; Modern Italian Painting (nineteenth and twentieth century), especially de Chirico. He is also editor of Kunst auf der Suche nach der Nation. Das Problem der Identität in der italienischen Malerei, Skulptur und Architektur vom Risorgimento bis zum Faschismus (2013), containing his monographic essay “Identität und Ironie in De Chiricos Chant d’amour.
Adrian R. Duran is Associate Professor of Art History at the University of Nebraska at Omaha. He is a specialist in Italian modernism and the author of Painting, Politics, and the New Front of Cold War Italy (Abingdon, Oxfordshire; New York, NY: Routledge, 2018. ©2014), a study of the discourse of art and politics in the years between 1935 and 1950. Duran recently edited an issue of the Journal of Latino-Latin American Studies focused on Art of the Latinx Diaspora. He will be the 2020–21 Dorothy K. Hohenberg Chair of Excellence in Art History at the University of Memphis.
Alice Ensabella is a Lecturer in Contemporary Art History at the University of Grenoble. She received her PhD in 2017 (a double degree from the Università di Roma La Sapienza and the Université de Grenoble) in Contemporary Art History with a dissertation on the art market of Surrealist art in Paris during the twenties. Her research focuses on the art market system, the circulation of artworks and the shaping of taste in the Parisian and American in the interwar years, especially focusing on surrealist and metaphysical art.  Ensabella published several articles and essays on this topic (Ricezione e fortuna della pittura dei Dioscuri nella Parigi della fine degli anni Venti, “Giorgio de Chirico e Alberto Savino. Una mitologia moderna,” 2019. Le lettere di Giorgio de Chirico a Paul et Gala Éluard (gennaio 1924 – gennaio 1925), “Studi OnLine” (co-author Gerd Roos; forthcoming). Les surréalistes à Drouot. Présences surréalistes aux enchères entre 1919 et 1930, “Ricerche di Storia dell’Arte,” 2017. Tra strategie, passioni e ideali. Gino Severini e Léonce Rosenberg, “Gino Severini, l’emozione e la regola,” 2016. “Apparition à la côte du peintre italien Giorgio de Chirico. La vendita della collezione Éluard el luglio 1924, “Studi OnLine,” 2016). Since 2012, she has been collaborating with the Archivio dell’Arte Metafisica in Milan and since 2013 with the Magnani Rocca Foundation in Parma. She is a member of the International Network for Young Scholars of the Forum Kunst und Markt in Berlin (Technische Universität) and former fellow at the Center for Italian Modern Art in New York. She recently curated with Stefano Roffi the exhibition Giorgio de Chirico, Alberto Savinio. Una mitologia moderna at the Magnani Rocca Foundation and she is curating another exhibition project on Giorgio Morandi at the Musée de Grenoble for 2020.

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.
Antonio David Fiore 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. Antonio 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.” 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 was published in autumn 2019. Since January 2019, he works as an Art Historian for the Italian Ministry of Heritage and Culture.
Antje K. Gamble is an art historian of Italian modernist sculpture and midcentury transatlantic exhibition practices. She is Assistant Professor of Art History in the Department of Art & Design at Murray State University. From Fascism to the Cold War, her work examines the exhibition, sale, and critical reception of Italian art and how it shaped and was shaped by national and international sociopolitical shifts. Gamble’s scholarship has been included in the recent volume Postwar Italian Art History Today: Untying the Knot (ed. Sharon Hecker; Marin R. Sullivan; New York, NY: Bloomsbury Visual Arts, 2018), in which her chapter “Buying Marino Marini: The American Market for Italian Art after WWII” looks at politicized collection practices during the early Cold War. Among her forthcoming essays are an assessment of the 1949 exhibition Twentieth-Century Italian Art, which will be published in The First Twenty Years at MoMA 1929–1949 (ed. Sandra Zalman and Austin Porter; Bloomsbury Press, forthcoming), and another of the 1947–48 ceramic Crocifisso by Lucio Fontana, for the exhibition catalogue Material Meanings: Selections from the Constance R. Caplan Collection (Art Institute of Chicago). Gamble is currently working on a monograph on Marino Marini, for which she received the CIMA-Civitella Affiliated Fellowship at the Civitella Ranieri Foundation for Spring 2020.
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.
Nicole Gercke is a Lecturer in Italian Studies in the Department of Classics, Humanities and Italian Studies at UNH. She earned her B.A. in Classics from Dartmouth College, her M.A. in Italian Studies from Middlebury College and her Ph.D. in Italian Studies from Brown University. She was a postdoctoral research fellow and continues to work with the Italian Studies Department and the Virtual Humanities Lab at Brown University. She has been the recipient of several awards including a fellowship from the University of Bologna to research “Humanism, Neohumanism and Posthumanism in the Media Age.”​
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).
Milton Glaser is an artist and graphic designer. He was a founder of Push Pin Studios, and later established New York Magazine and his own graphic design studio, Milton Glaser, Inc. He is the author of the iconic “I Heart NY” trademark logo (1977) and of many successful advertising posters and trademarks for companies including Brooklyn Brewery, Campari, DC Comics, and Olivetti. As a Fulbright grant recipient, he traveled to Italy in 1952 and worked alongside Italian artist Giorgio Morandi in Bologna. Glaser is the recipient of a National Medal of Arts (2009).
Emanuele Greco, PhD in Art History at the University of Florence, specializes in Italian art and critics of the 20th Century. His PhD thesis, which was awarded with the "Città di Firenze" Research Prize (2018–19), looked at the reconstruction of the cultural context that surrounded the Fiorentina Primaverile, an important exhibition of Italian contemporary art that took place in Florence in 1922 with a significant focus on the participation of the Valori Plastici group. He also studied the exhibition of African sculptures at the Venice Biennale in 1922, as well as artists like Giorgio de Chirico, Edita Broglio, Alberto Viani, Jean Hans Arp, Francesco Somaini. Moreover, he researched Italian art critics such as Roberto Salvini, Carlo Ludovico Ragghianti and Giorgio Castelfranco, curating the re-publishing of Castelfranco's book La pittura moderna (Florence: Edifir, 2016). He has presented essays in several conferences around European countries and the U.S. He has been post-doctoral fellow on 2019 at the Stiftung Arp in Berlin, where he studied Arp's reception in Italian artistic and cultural context. At the moment he has been awarded a research fellowship at the University of Florence. Several of his articles have appeared in magazines like “Annali di Critica d'Arte,” “L'Uomo Nero,” “StudiOnLine” and “Artista.”
Matilde Guidelli-Guidi is Assistant Curator at Dia Art Foundation and a PhD candidate in Art History at The Graduate Center, CUNY, where she advises master’s degree students. Titled “Archipelagos of Knowledge: Le Corbusier’s Museums, 1919–1965,” her dissertation takes Le Corbusier’s lifelong commitment to reimagining the modern museum as an entry point through which to analyze discourses and practices of museum architecture in France, from the aftermath of World War I through the decades of decolonization up until 1965. At Dia, Matilde is preparing exhibitions of the work of Mario Merz, Jill Magid, Meg Webster, and Luciano Fabro, among other projects. She was the recipient of two Andrew W. Mellon Curatorial Fellowships and a 2015–16 Fellow at CIMA, where she researched the work of Giorgio Morandi.
Sharon Hecker is an art historian and curator specializing in modern and contemporary Italian art. A leading expert on Medardo Rosso, she has authored over thirty publications on the artist, including A Moment’s Monument: Medardo Rosso and the International Origins of Modern Sculpture (Oakland: University of California Press, 2018), awarded the Millard Meiss Prize and recently published in Italian by Johan & Levi Editore. Hecker has curated numerous exhibitions, including Medardo Rosso: Second Impressions (Harvard University Art Museums, 2003), the retrospective Medardo Rosso: Experiments in Light and Form (Pulitzer Arts Foundation, Nov 11, 2016–May 13, 2017), and, with Julia Peyton-Jones, Medardo Rosso: Sight Unseen and His Encounters with London (Galerie Thaddaeus Ropac, Nov 23, 2017–Feb 10, 2018). She has been awarded fellowships from the Getty, Fulbright, and Mellon Foundations. Hecker has also published numerous essays on twentieth-century Italian artists such as Lucio Fontana, Luciano Fabro, and Francesco Lo Savio. She co-edited, with Marin R. Sullivan, Postwar Italian Art History Today: Untying 'the Knot’ (New York, NY: Bloomsbury Visual Arts, 2018). Her forthcoming books include Lead in Modern and Contemporary Art (co-edited with Silvia Bottinelli; NY: Bloomsbury Visual Arts, 2020) and Finding Lost Wax: The Disappearance and Recovery of an Ancient Casting Technique and the Experiments of Medardo Rosso. She is currently curating an exhibition on Fontana’s ceramics that will open at the Peggy Guggenheim Collection in Venice in 2022.
Paola Italia is an Associate Professor of Italian Literature and Philology at the University of Bologna. Her research is devoted to nineteenth- and twentieth-century Italian literature, language and philology, including methods of writing and editing employed by modern authors. Italia earned her Ph.D in 1998 from the University of Pisa and wrote her dissertation on Alberto Savinio’s early works (Il Pellegrino appassionato. Savinio scrittore 1915–1925, Palermo: Sellerio Editore, 2004). She has expanded scholarship on the author through subsequent publications. Celebrated for her texts on writers including Leopardi, Manzoni, Bassani, Gadda, Manganelli, Italia has also been recognized for her teaching at the Universities of Magonza, Siena and Rome La Sapienza.
Lucilla Lijoi (PhD, University of Genoa, Italy) works on twentieth-century Italian literature. Her dissertation, “Il sognatore sveglio. Alberto Savinio 1933–1943,” focuses on the relationship between Savinio and Fascism. She published essays on “Studi Novecenteschi” and “Nuova Corrente.” Currently, she teaches Latin and Italian literature at high school in Italy.
Nicola Lucchi is Substitute Lecturer of Italian at Queens College. He received his PhD in Italian Studies from New York University in 2016. His research interests include twentieth-century Italian art and literature, industrial history, labor history, and the reception of Italian culture in the United States. He has published articles and book chapters on Eugenio Montale, Bruno Munari, and Italian Futurism.
Chiara Mari is a historian of modern and contemporary art who received her Ph.D from the Cattolica University of Milan. Her main field of research concerns the dialogue between artists and the new medium of television, examined through a historical perspective. She has several articles on this topic for academic journals (such as Comunicazioni Sociali, No. 3, 2016), exhibition catalogues (Palazzo Strozzi, Florence, 2018) and conference proceedings (Postmedia, 2017). Her other publications focus on different aspects of nineteenth and twentieth-century Italian art, including the history of caricature in the mid-nineteenth-century avant-garde movement Scapigliatura, the Milanese Triennale exhibitions, and the history of the Venetian Cavallino gallery and publishing house. She has worked as a scientific coordinator of research projects on Franco Angeli (Archivio Franco Angeli - Marsilio, 2017) Virgilio Guidi (Fondazione Giorgio Cini - Marsilio, 2017) and Arnaldo Pomodoro (Fondazione Arnaldo Pomodoro - Forma, 2019). In 2015, she held a fellowship at the Contemporary Art Museum, Zagreb, where she conducted research on New Tendencies and experimental film. She is currently a postdoctoral researcher at the Fondazione Giorgio Cini, Venice, where she works on the Cardazzo Archive. She collaborates with the Cattolica University, Milan and Brescia.
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.
Nicol Maria Mocchi is an Italian art historian specialized in modern and contemporary art. She obtained her PhD in 2014 from the University of Udine with a thesis entitled Fonti visive internazionali per gli artisti italiani negli anni del Simbolismo. Since 2010, she has collaborated with Milan’s Superintendence of Fine Arts, and with the Archivio dell’Arte Metafisica. Her main research interests are the connections and exchanges between diverse visual cultures of the nineteenth and twentieth centuries, with an emphasis on Swiss-German, Anglo-American and Italian artists and movements. As a 2016 and 2019 CIMA fellow, she worked, respectively, on the north-american reception and fortunes of Giorgio Morandi, and of Marino Marini’s oeuvre in Switzerland during World War II. She has recently published a book entitled La cultura dei fratelli de Chirico agli albori dellarte metafisica. Milano e Firenze 1909–1911 (Milan 2017).
Will Norman is Reader in American Literature and Culture at the University of Kent (U.K.). His research interests include modernism, midcentury literature and visual culture, crime fiction, and Marxism. He is the author of Transatlantic Aliens: Modernism, Exile and Culture in Midcentury America (Baltimore: Johns Hopkins University Press, 2016) and Nabokov, History and the Texture of Time (New York: Routledge, 2012). He has published articles in Modernism/modernity, American Literature, and Post-45, among other journals. Norman has been a Fulbright fellow at Yale University and a Visiting Research Fellow at the University of Sydney. He is currently working on representations of complicity in post–1945 writing, and on mapping in American art and literature.
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.
Elena Salza is a PhD candidate in History of the Arts at Ca’ Foscari University in Venice. Her dissertation focuses on the development of Italian art from the sixties to the eighties examined through the lens of the activity of the poet and art critic Mario Diacono within the scope of the cultural exchanges between Italy and the United States. She has been 2017–2018 fellow at the Center for Italian Modern Art. In 2016 she was a recipient of the Branca Research Scholarship at Fondazione Giorgio Cini in Venice. She has worked at the Fondazione Alighiero e Boetti in Rome, and she has been a member of the research team for the National Research Project The Multiplication of Art/Visual Culture in Italy, and a member of the Special Collection cataloguing team of the Harald Szeemann Archive at the Getty Research Institute. She holds a MA degree in Art History and BA in Humanities from the Università degli Studi Roma Tre, and a postgraduate qualification in Library Science from the Vatican Library School. Her articles have appeared in LUomo Nero (2011); Arte moltiplicata. Limmagine del Novecento italiano nello specchio dei rotocalchi (2013), Studi di Memofonte (2013); Arte a Firenze 19702015 (2016), and Archival Notes. Sources and Research from the Institute of Music (2018).
Ilaria Schiaffini is Associate Professor of History and Contemporary Art at the Sapienza University of Rome. She holds a PhD in Art History from the University of Padua, as well as an Art History Specialization School degree from the University of Siena. In 2000 she won a Library Research Grant supported by the Getty Foundation for a project on Umberto Boccioni’s papers. She is a member of the advisory committee of the journal Piano B. Since 2016, she has been head of the Art History Department Photographic Archive and, since 2019, Director of the Museo Laboratorio di Arte Contemporanea, Sapienza University. Her research focuses on modernism’s relationship with Symbolism; Futurism; and the history of photography and its archives. She is the author of Umberto Boccioni, Stati d’animo. Teoria e pittura (Cinisello Balsamo, Milan: Silvana Editoriale, 2002), Vittore Grubicy de Dragon, Scritti d’arte (Rovereto: MART, 2009), and Arte contemporanea: metafisica, dada, surrealismo (Rome: Carocci, 2011). She edited the volumes Etica e fotografia (with R. Perna; Rome: DeriveApprodi, 2015), Irene Brin, Gaspero del Corso e la Galleria L’Obelisco (with V.C. Caratozzolo and C. Zambianchi; Rome: Drago, 2018), and La Fototeca di Adolfo Venturi alla Sapienza (Rome: Campisano, 2018). She has written extensively on the Roman art gallery L’Obelisco.  
Carlos Segoviano is a Ph.D  student in art history at the Universidad Nacional Autónoma de México. His research deals with the metaphysical school, Surrealism, Futurism, and the Mexican muralist movement, with special emphasis on Frida Kahlo, David Alfaro Siqueiros, Antonio Berni, and Emilio Baz. Segoviano’s research has taken him to Los Angeles, where he has contributed to the rescue of David Alfaro Siqueiros’ 1932 mural “America Tropical,” as well as Buenos Aires, where he studied the 1933 mural “Plastic Exercise,” created by Siqueiros, Berni, Spilimbergo, and Castagnino. In addition to his research, Segoviano has a column in the digital magazine Augur.
Simona Storchi is an Associate Professor of Italian at the University of Leicester. She has published extensively on early twentieth-century Italian literature and culture and on the relationship between art and politics under the fascist regime. Her publications include: Valori Plastici 1918–1922. Le inquietudini del nuovo classico (monographic supplement to The Italianist, 2006); Beyond the Piazza. Public and Private Spaces in Modern Italian Culture (Peter Lang, 2013); Back to the Futurists. The Avant-Garde and its Legacy, ed. with Elza Adamowicz (Manchester University Press, 2013); The Great War and the Modernist Imagination in Italy, ed. with Luca Somigli (themed issue of Annali d’Italianistica, 2015); Visualizzare la Guerra. L'iconografia del conflitto e l'Italia, ed. with Giuliana Pieri and Maria Giuseppina Di Monte (Mimesis, 2016); Women and the Public Sphere in Modern and Contemporary Italy. Essays for Sharon Wood, ed. with Marina Spunta and Maria Morelli (Troubador, 2017). She has a forthcoming monograph entitled Massimo Bontempelli e la cultura italiana fra le due guerre. L’intellettuale, il fascismo, la modernità (Mimesis) and is currently completing a book on the ‘return to order’ in Italy between the end of WWI and the rise of Fascism. She is the Italian Section Editor of the open access peer-reviewed journal Modern Languages Open (Liverpool University Press).
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.
Giulia Tulino received her Ph.D in Contemporary Art History from La Sapienza, University of Rome, in 2017 with a dissertation on La galleria dell’Obelisco e il surrealismo a Roma 1940–1960. She has published two additional essays about this topic. While at La Sapienza, Tulino served as an Assistant Professor for academic activities. As an independent curator, she has worked for both private galleries and public institutions including the MLAC, University Museum of Contemporary Art. Since 2015, Tulino has been curator of the Jacorossi Collection, Rome, which holds over 3,000 art works of Italian contemporary art. She is also currently curator at MUSIA, Rome.
Maria Elena Versari is Visiting Professor of Art History and Theory at Carnegie Mellon University. She studied at the Scuola Normale Superiore, where she received a PhD in Art History with a doctoral dissertation devoted to the international relations of Futurism. She has published two monographs, Constantin Brancusi (Florence, 2005) and Wassily Kandinsky e l’astrattismo (Florence 2007; French tr. 2008; Portuguese tr. 2011), edited the republication of Ruggero Vasari’s Futurist dystopian dramas L’angoscia delle macchine e altre sintesi futuriste (Palermo 2009) and has written extensively on Futurism, Avant-garde internationalism, Cubism, Fascist aesthetics and architecture, and twentieth-century sculpture. In 2016, she edited and co-translated the first English-language edition of Boccioni's 1914 Futurist Painting Sculpture for the Getty Research Institute Publications and has co-curated Totally Lost, an EU-sponsored exhibition devoted to totalitarian architecture and urban memory involving 186 international photographers and mapping 300 locations worldwide. She is currently completing a book manuscript titled The Foreign Policy of the Avant-garde and pursuing research for a second book on political iconoclasm in the 20th century.
Martin Weidlich earned his master’s degree in Romanic literature and German as a foreign language, as well as a Ph.D. for his dissertation on Alberto Savinio (published 2006), from the Ludwig-Maximilians-Universität, Munich. Since 1997, Weidlich has taught German language to foreign students, providing instruction at all academic and professional levels. In 2013, responding to considerable demand among international scholars, he created the Dr. Martin Weidlich, Lektorat – Korrekturen editorial office in Munich, offering linguistic revision of various types of texts. In addition to these activities, Martin Weidlich works as an essayist, translator, philologist, and researcher.
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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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