ANTJE GAMBLE: MARINO MARINI AND THE MARKET FOR EUROPEAN SCULPTURE IN THE USA AFTER WWII

19 November 2019

In a 1950 interview for the New York Times, Marino Marini lamented that the plight of sculptors in Italy was “very bad […] and people have no place to put sculpture.”  The sculptor’s woes connected the low market to the post-war reconstruction as well as to a slow move by architects to “create space for sculpture [where…] sculpture can assert itself in it, define it, give scale, and bring spiritual meaning.”  With the slow European market for art, hindered by the physical reconstruction efforts, Marini and his contemporaries, like Henry Moore, found a market for sculpture in the booming USA after WWII. Americans were building. They were building homes, opening and expanding museums, and funding new cultural organizations, and they ultimately used sculpture to ‘define it’. This paper will consider the market and its cultural implications of Marini’s work in the US during this period.

In the 1950s and early 60s, works by Marini were purchased for public and private collections alike. Notably, iconic works were cast multiple times, sometimes in various sizes and materials—some in gold or silver, rather than bronze. A notable example is the Cavaliere cast for Edgar Kaufmann’s house by Frank Lloyd Wright called Fallingwater would later be commissioned for Peggy Guggenheim’s house in Venice, with the title Angelo della Città.  The familiarity of his subjects, like dancers and equestrians, combined with Marini’s innovative use of media solidified the sculptor’s success with American collectors. From Nelson Rockefeller to Alexandre Rosenberg, Marini’s work was championed with the help of a 1949 exhibition at MoMA and the savvy representation by gallerist Curt Valentin.

The talk will be preceded by a sampling of wines and light bites courtesy of Santi.  The Italian winery has been a leading producer in the Valpolicella area since the 1800’s. With its dedication to quality and its unique aging process, Santi offers a series of beautiful wines for every palate.

Antje K. Gamble received her Ph.D. in History of Art at the University of Michigan. Her research focuses on Italian modernist sculpture in the middle of the twentieth-century. From Fascism to the Cold War, Dr. Gamble’s work examines the exhibition, sale, and critical reception of Italian art and how it shaped and was shaped by national and international socio-political shifts. She is currently an assistant professor of Art History in the Department of Art & Design at Murray State University in Kentucky.
Her scholarship has been included in the recent volume Postwar Italian Art History Today: Untying ‘the Knot’(Bloomsbury Press, 2018), where her chapter titled “Buying Marino Marini: The American Market for Italian Art after WWII” looks at politicized collection practices during the early Cold War. She also has two forthcoming essays: one on the 1949 exhibition “Twentieth Century Italian Art” at the Museum of Modern Art (MoMA) for a book due out late 2019 (The First Twenty Years at MoMA 1929-1949, Eds. Sandra Zalman and Austin Porter. London: Bloomsbury Press.), and another on the 1947-48 ceramic Crocifisso by Lucio Fontana for a 2020 Art Institute of Chicago (AIC) exhibition catalogue. Dr. Gamble is also working on a book project looking at the interdisciplinary importance of the 1950-53 exhibition “Italy at Work: Her Renaissance in Design Today” organized by the Art Institute of Chicago and the Brooklyn Museum and funded by the Marshall Plan.
During the CIMA-affiliated fellowship at the Civitella Ranieri Foundation, Dr. Gamble will be completing a book manuscript on the work of sculptor Marino Marini that tracks aesthetic shifts, both in parallel and opposition to larger geo-political shifts within and outside of Italy from Fascism through the beginning of the Cold War.

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MEMBERS ONLY TOUR: THE WHITNEY’S CONSERVATION STUDIO

13 November 2019

“Restoration must aim to re-establish the potential unity of the work of art, as long as this is possible without producing an artistic or historical faux and without erasing the passage of time”
-Cesare Brandi  

CIMA members who join us on November 13th, 2019 for a private tour of the Whitney’s conservation studio will have the chance to get a unique “back of the house” glimpse of where artwork is studied, cared for, and restored by conservation professionals before being displayed at exhibitions. The Whitney’s conservation department was founded in 2001, since then, the department has been extremely involved in the preservation and long-term care of works of art in the museum’s collection. The department embraces the multi-face approach to conservation, incorporating innovative approaches to the treatment and technical study of the works of contemporary and modern art that includes historical and scientific research, technical examination, and artist interviews.  

Guiding us on this tour of the conservation studio will be Carol Mancusi-Ungaro and Whitney conservation staff members. Carol serves as the Melva Bucksbaum Associate Director for Conservation and Research at the Whitney Museum of American Art and for over a decade as Founding Director of the Center for the Technical Study of Modern Art at the Harvard Art Museums. For nineteen years she served as Chief Conservator of The Menil Collection in Houston, Texas. During that time, she founded the Artists Documentation Program (ADP) wherein she interviews artists about the technical nature of their art. She has contributed to monographs on Jasper Johns and Cy Twombly, among other artists, and co-authored the catalogue raisonné of Barnett Newman. In 2004 she received the College Art Association/Heritage Preservation Award for Distinction in Scholarship and Conservation. In 2009 she was elected a Fellow of the American Academy of Arts and Sciences, marking the Academy’s first recognition of art conservation. In January 2016 her work was featured in a New Yorker profile entitled “The Custodians” and later that year she was awarded the Forbes Prize by the International Institute for Conservation of Historic and Artistic Works, its highest honor. She continues to engage in research documenting the materials and techniques of living artists as well as other issues pertaining to the conservation of modern art. 

On this tour, members will learn about the unique challenges faced in the conservation of contemporary art, and how conservationists address these problems and are proactive in the upkeep and care of the works of art.

Please note this tour is limited to 15 people. CIMA members will receive an email invite to the guided tour, and are invited to RSVP by email. Slots will be allotted on a first come basis.

Not a CIMA member…? BECOME A MEMBER TODAY! 

Members receive free admission to CIMA, access outside of regular public hours, a copy of the annual catalogue, and invitations to exclusive events and receptions. 

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PATRICIA CRONIN AND THE LURE OF ANTIQUITY

07 November 2019

Join us at CIMA as artist Patricia Cronin and Guggenheim Museum Senior Curator Vivien Greene discuss Cronin’s work as it relates to Marino Marini: Arcadian Nudes, exploring topics including feminism, public art, and antique sources. The program is sponsored by CIMA and the Civitella Ranieri Foundation, with which we have an Affiliated Fellowship.

Attendees will also have the opportunity to sample a variety of Santi wines. The Italian winery has been a leading producer in the Valpolicella area since the 1800’s. With its dedication to quality and its unique aging process, Santi offers a series of beautiful wines for every palate. Small bites will accompany the wines prior to the start of this talk.

Patricia Cronin is an interdisciplinary visual artist whose work examines issues of gender, sexuality, and social justice. Her work, which focuses on lesbian visibility, marriage equality, feminist art history, and the international human rights of women and girls, has been exhibited widely throughout the U.S. and internationally. It is also in many permanent public collections, including the National Gallery of Art and the Smithsonian National Portrait Gallery, both in Washington, DC. The recipient of numerous fellowships and honors, Cronin has been the recipient of a Rome Prize from the American Academy in Rome and a Civitella Ranieri Fellowship. She is Professor of Art at Brooklyn College, CUNY.

Vivien Greene is Senior Curator, 19th- and Early 20th-Century Art, at the Guggenheim Museum. Her exhibitions and publications focus on European art with concentrations in French and Italian modernism and on international currents in turn-of-the-century art and culture. Among her fellowships and honors, she has received a Fulbright to Italy, a Rome Prize from the American Academy in Rome, and was made an Ufficiale dell’Ordine della Stella d’Italia. She holds a Ph.D. in art history from The Graduate Center, CUNY.

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MEMBERS ONLY TOUR: SOTHEBY’S FALL AUCTION PREVIEW

06 November 2019

On November 6th, 2019 CIMA is excited to invite members on a tour of the Sotheby’s Auction House for a unique chance to preview their fall 2019 auction. Since 1744 Sotheby’s has been housing some of the world’s most prestigious and desirable works of art. Originally opening in London, Sotheby’s became the first international auction house when it expanded to New York City in 1955. Today, Sotheby’s also has locations in Hong Kong and Paris.  

On the tour, members will be guided by Lisa Dennison,  Sotheby’s EVP and Chairman, and Scott Niichel, Senior Vice President and Head of Day Sale & Deputy Head of Impressionist art. Lisa Dennison joined Sotheby’s in 2007 after an impressive 29-year career at the Guggenheim Museum, where she was the Director since 2005. At Sotheby’s, Ms. Dennison focuses on international business development, a role that draws on her considerable strengths as an internationally recognized figure in the fields of Modern & Contemporary Art. Scott Niichel, who joined Sotheby’s in 2006, first worked as a specialist in the Russian Art department, before moving to the Impressionist & Modern Art department in 2012. During his time at Sotheby’s, Mr. Niichel has been directly responsible for sales both at auctions and privately.  

The Fall 2019 Auction at Sotheby’s includes hundreds of exquisite works of art including a Piero Manzoni, Achrome, 1959 and Marino Marini’s, Cavallo (Horse), 1951. Marini (1901–1980), best known for his figurative equestrian sculptures, is also the center of CIMA’s annual exhibition with his figures of female nudes. This tour will be a great opportunity to view a different side of his work at Sotheby’s. 

Please note: CIMA members will receive an email invitation in our newsletter, via MailChimp to RSVP for this event.

Not a CIMA member…? BECOME A MEMBER TODAY! 

Members receive free admission to CIMA, access outside of regular public hours, a copy of the annual catalogue, and invitations to exclusive events and receptions. 

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MEMBERS-ONLY TOUR OF CHRISTIE’S

04 November 2019

On Monday, November 4th, 2019, CIMA is excited to invite its members on a tour of Christie’s Auction House. Founded in 1766 by James Christie, Christie’s has conducted some of the greatest and most celebrated auctions through the centuries. Christie’s offers around 350 auctions annually in over 80 categories showcasing extraordinary works of art, antique treasures, jewels and much more.

On this tour, members will be led by Vanessa Fusco, who is the Vice President and Senior Specialist in Impressionist & Modern Art at Christie’s. Vanessa is responsible for appraising and advising clients on artworks by the foremost artists of the late 19th and first half of the 20th century. Our second guide on this tour will be Alessandro Diotallevi. Alessandro is a Specialist in the Post-War & Contemporary Art department in New York. In 2014, he was the Junior Specialist on the historic Eyes Wide Open: An Italian Vision, the sale of one of the most important collections of Arte Povera which realized fifteen artist records including those for Michelangelo Pistoletto, Janis Kounellis, and Alighierio Boetti.  On this tour, members will get the chance to view the works of art and artifacts on display and ask questions to our two highly qualified guides.  

Please note: CIMA members will receive an email invitation in our newsletter, via MailChimp to RSVP for this event.

If you are feeling generous and you are able, please consider making a donation in person or here. As a public non-profit organization, CIMA works fervently to make such exclusive and exceptional events available to our members. Any amount will facilitate our ability to continue to offer our members access to one-of-a-kind private events at the premier art institutions across New York City!

Not a CIMA member…? BECOME A MEMBER TODAY!

Members receive free admission to CIMA, access outside of regular public hours, a copy of the annual catalogue, and invitations to exclusive events and receptions.

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DRAWING NIGHT & APERITIVO WITH BEATRICE SCACCIA

29 October 2019

CIMA opens its unique and intimate setting to artists, students, and others interested in trying their hand at studying works from the Marino Marini: Arcadian Nudes exhibition through drawing — interacting with, analyzing, and drawing inspiration from the sculptor’s work.

Materials will be provided and all skill levels are welcome!

Beatrice Scaccia is a visual artist and writer living and working in New York City. Originally from Italy, Scaccia studied Fine Art at the Fine Art Academy in Rome and writing at the Minimum Fax Editor (Rome) and the Holden School (Turin). In 2006 she and renowned artist Gino Marotta co-founded the non-profit art space INART, where she was the director and educator for five years. Scaccia’s practice is an amalgamation of the written word and visual language.
Typically large scale, it consists of drawings, paintings, animations, and immersive installations.
Her drawings are in many important private and public collections, including The William Louis-Dreyfus Foundation and the Portland Museum of Art.

Ms. Scaccia has been featured on Artnet News, Flash Art, The Art Newspaper, Domus, Marie Claire, Arte Mondadori, Drome Magazine, InsideArt, Art Fuse, Sole24Ore, Exibart, Atribune, Espoarte, Elle Decor Culture.

Event Schedule:

6pm – Registration and exhibition viewing

6:10pm – Introduction by Beatrice Scaccia

6:30–7:30pm – Drawing in CIMA’s galleries

7:30pm–8pm– Discussion

8pm – Evening concludes

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MEMBERS ONLY TOUR OF MODERNISMS: IRANIAN, TURKISH, AND INDIAN HIGHLIGHTS at GREY ART GALLERY

23 October 2019

On Wednesday October 23, 2019, CIMA invites members on a private tour of NYU’s Grey Art Gallery.

“Modernisms: Iranian, Turkish, and Indian Highlights from NYU’s Abby Grey Collection” explores art from the 1960s and early ’70s from Iran, Turkey, and India via selections from the unparalleled Abby Weed Grey Collection of Modern Asian and Middle Eastern Art at New York University. Featuring approximately 25 to 35 paintings, sculpture, drawings, and prints from each country, the exhibition will shed light on how Iranian, Turkish, and Indian artists created works that drew on their specific heritages while also engaging in global discourses around key issues of modernity. Illuminating our understanding of art made outside the long-dominant North American–Western European axis, the exhibition also features historic exhibition brochures, invitations, photographs, correspondence, journals, and invoices from the Abby Weed Grey Papers housed in the NYU Archives. “Modernisms” will be accompanied by a fully illustrated catalogue.

Among the artists on view, the work of Parviz Tanavoli, one of Marino Marini’s students, will be of particular interest for those who have already seen CIMA’s annual exhibition centered around the female nudes produced by the Italian sculptor.

Please note: CIMA members will receive an email invitation in our newsletter, via MailChimp to RSVP for this event.

The exhibition will be closing on December 7, so do not miss this opportunity to join an expert-lead tour of the Grey Art Gallery.

If you are feeling generous and you are able, please consider making a donation in person or here. As a public non-profit organization, CIMA works fervently to make such exclusive and exceptional events available to our members. Any amount will facilitate our ability to continue to offer our members access to one-of-a-kind private events at the premier art institutions across New York City!

Not a CIMA member…? BECOME A MEMBER TODAY!

Members receive free admission to CIMA, access outside of regular public hours, a copy of the annual catalogue, and invitations to exclusive events and receptions.

Photo credit: Nicholas Papananias, Modernisms: Iranian, Turkish, and Indian Highlights from NYU’s Abby Weed Grey Collection, on view at NYU’s Grey Art Gallery, September 10–December 7, 2019.

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CIMA WILL OPEN TO THE PUBLIC ON OCTOBER 17, 2019

17 October 2019

Our 2019–2020 season will start Thursday, October 17, 2019. This year CIMA will be open to the public Thursdays, Fridays, and Saturdays: open hours from 2pm to 6pm on all three days, and fellow-led tours at 11am and 2pm on Fridays and Saturdays only.

Reservations for viewing of Marino Marini: Arcadian Nudes are open now.

BOOK YOUR VISIT!

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MARINO MARINI - October 12, 2018 to June 22, 2019

MARINO MARINI: SCULPTURAL REPRESENTATION OF THE NUDE

16 October 2019

Marino Marini chose the nude as one of his favorite subjects: while in the Thirties he focused primarily on the male nude, in the Forties his attention shifted to female nudes. During the Thirties, in Italy, the artistic discussion on the theme of the nude–with a focus on sculptural nudes in particular–was defined mostly in dialogue with ancient sculptures; archaeologists highlighted the artistic and moral superiority of the male nude versus the female nude. However, during World War II and in the immediate post-war period this paradigm of values changed rapidly. The female nude was now deemed more suited to the representation of pure forms that came to fashion with the triumph of abstract art; moreover, its anti-heroic condition, in which sensuality and tenderness met, appeared almost as an allegory of the human condition after the tragedy of the war. This talk examines Marino Marini’s evolution in the years between 1930 – 1950, focusing on his nudes–male and female–and putting into dialogue his research on this subject with the Italian and international context within which he worked.

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.

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CURZIO MALAPARTE: The cruelty of Literature Book Launch

24 September 2019

CIMA is thrilled to host a book launch and conversation with the author of “Curzio Malaparte: The cruelty of Literature,” Franco Baldasso and NYRB translator and novelist Jenny McPhee.

Curzio Malaparte is today at the center of an international debate reappraising his work as a key figure of European modernity, rediscovering his books, cinema and theater. The scandals of Malaparte’s biography overshadowed the exceptional versatility of an author famous to architects worldwide for his arresting Casa Malaparte in Capri as well as for his heretic accounts of WWII in bestsellers such as Kaputt (1944) and The Skin (1949). Beginning with his controversial contribution to fascism and his outstanding reports from the war fronts, Baldasso’s book interprets the cruelty of Malaparte’s literature as a critical response to the collapse of European civilization and the failure of post-WWI revolutionary ideals that ended up fueling totalitarian regimes. In conversation with novelist Jenny McPhee, who translated Malaparte’s The Kremlin Ball for NYRB Classics, Baldasso will further discuss the unexplored visual impact of Malaparte’s work: not only his house in Capri created with Adalberto De Libera, but also the rarely screened movie The Forbidden Christ (1951) and his photos as a war correspondent from Ethiopia to Ukraine.

Curzio Malaparte, la letteratura crudele (Carocci, 2019) is the first study on the Italian author to concentrate on his artistic production beyond the scandals of his life as a public intellectual. The book interprets Malaparte’s crucial period 1937-1951 in the context of the tragic failure of totalitarian regimes to establish new political religions. The clash between modern technology and old humanist worldviews takes central stage in Malaparte’s unique testimony of the downfall of European civilization, from literature to cinema.

Franco Baldasso is Assistant Professor and Director of the Italian Program at Bard College, NY. He is the 2019 Rome Prize in Modern Italian Studies from the American Academy in Rome. His main research interests are 20th century literature, art and intellectual history, the complex relations between Fascism and Modernism, and the idea of the Mediterranean in modern aesthetics. He authored a book on Holocaust survivor Primo Levi, Il cerchio di gesso. Primo Levi narratore e testimone (Bologna 2007) and the volume Curzio Malaparte, la letteratura crudele. Kaputt, La pelle e la caduta della civiltà europea (Carocci, 2019). He is currently revising a new manuscript titled: “Against Redemption: Literary Dissent during the Transition from Fascism to Democracy in Italy.”

Jenny McPhee is the Director of the Center for Applied Liberal Arts at NYU’s School of Professional Studies where she is a Clinical Assistant Professor teaching in the MS in Translation. She is the author of the novels The Center of Things, No Ordinary Matter, and A Man of No Moon, and she co-authored Girls: Ordinary Girls and Their Extraordinary Pursuits. Her translations from the Italian include books by the authors Natalia Ginzburg, Primo Levi, Giacomo Leopardi, Curzio Malaparte, Anna Maria Ortese, Paolo Maurensig, and Pope John Paul II. She recently taught literary translation at Princeton University as a visiting lecturer.

This event is free and open to the public.

REGISTER HERE.

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