Aperitivo & Drawing Night with Kaitlin McDonough

28 January 2020 / 6:00 pm - 8:00 pm

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.

Expanding upon the premise that drawing is the most optimal way to apprehend a work of art, this Drawing Night, led by artist Kaitlin McDonough (New York Studio School), will present drawing as a way of understanding, empathizing and seeing.

Materials will be provided and all skill levels are welcome!

Event Schedule:

6pm – Registration and exhibition viewing

6:10pm – Introduction by Kaitlin McDonough

6:30–7:45pm – Drawing in CIMA’s galleries

7:45pm–8pm– Conclusion

8pm – Evening concludes


Kaitlin McDonough paints exuberant abstractions, often incorporating objects and nontraditional supports. Equally fascinated by imagery and materiality, her content originates from the sensual inextricability of both and hybrid ways of perceiving. McDonough received her MFA from Tyler School of Art, Temple University and her BFA from Boston University, Summa cum laude. Prior to being based in New York, Kaitlin lived and worked in both Venice and Rome, Italy where she developed a close relationship with Italian art of the past and present. Her work has been exhibited throughout Italy–in Venice, Rome, Vicenza, Bologna, Verona–and in Boston, New York, Philadelphia, Richmond and Serbia. She is the recipient of the Temple University Project Completion Grant and has participated in a residency at the Vermont Studio Center. Kaitlin McDonough is currently the Program Director and member of the Faculty at the New York Studio School of Drawing, Painting and Sculpture where her courses focus on drawing strategies, Color, and Painting on Paper.



The Pasts of Marini’s Futures

11 February 2020 / 6:00 pm - 8:00 pm

Clemente Marconi and Ann Kuttner work on the art of Mediterranean antiquity, and its own issues of reception and retrospection. For this CIMA program, they conduct a dialogue about how Marini positioned his statuary practice in relation to what he would have known as very old – including Greek, Roman and Etruscan remains – in ways that were complementary to how he positioned that work relative to his contemporaries’ production. Such rapprochement with antiquity was claimed often by Marini, who even called himself ‘an Etruscan.’ They will weigh those claims against telling divergence from the classical record, on the one hand, and on the other explore resonances Marini never voiced explicitly but which the works themselves suggest.

In keeping with CIMA exhibition, one topic will be Marini’s female nudes, from miniature to monumental, from swollen lumpy torsos as of women aged by childbearing to exaggeratedly taut bodies, from mannered primitivism to the Neoclassical. (And do they echo the sacrality of so many ancient prototypes?) How these multiples of what Marini named the nymph ‘Pomona’ lived in the studio and in his own mind as seriated things, as here at CIMA, suggests the great galleries of Roman replica statuary Marini must have known. His cropping of limbs and head expresses that cult of the fragment that is so much a part of the appeal of archaeological traces to modernist sensibilities. Such aspects inform how Marini’s images both praised and caged the feminine. Just like their ancient prototypes, these statues often represented the increase of the earth, and pitted artifice against nature; that can’t help but have had political resonance. Marini explicitly attributed political messages to his seriated horsemen, as protests against modern threats of technologically enabled mass violence. For the female nudes, too, and their promise of auspicious fertility, which Marini spoke of, politics are in question. We ourselves, at a time of what many think a human undoing of Nature, might meditate what Marini’s engagement with Ovid’s fruit-bringing nymph could speak to in our age. And for all Marini’s retrospectives, the attempted Fascist appropriation of Etrusco-Roman antiquity, to adorn revived Italian greatness, has to have inflected Marini’s understanding of what it meant for him to stubbornly claim, reclaim, or turn his back on Italian classicisms of many kinds.


Ann Kuttner is Associate Professor in the Dept. of History of Art at the University of Pennsylvania, active in the Graduate Groups in Art and Archaeology of the Mediterranean World and in Ancient History. Author of Dynasty and Empire in the Age of Augustus: The Case of the Boscoreale Cups (1995, Univ. of California Press), co-editor with Alina Payne of Antiquity and Its Interpreters (2000, Cambridge Univ. Press), she teaches and publishes broadly on arts of the Hellenistic, Roman and Late Antique world, not least those of Italy. That includes special interests in sculpture, political art and domestic display, and in retrospective images, cross-cultural interaction, and the post-antique reception of the ‘Classical.’ Recent essays include, for instance, ‘(Re)presenting Romanitas at Sir John Soane’s House and Villa,’ in K. von Stackelberg and E. Macaulay-Lewis eds., Housing the New Romans: Architectural Reception and Classical Style in the Modern World (2017), and ‘A Tortured Image: The Biography of Lucullus’ Dying Hercules,’ in CIS: California Italian Studies Journal 6.1, 2016.

Clemente Marconi is the James R. McCredie Professor in the History of Greek Art and Archaeology and University Professor at the Institute of Fine Arts–NYU, and Professore Ordinario di Archeologia Classica in the Dipartimento di Beni Culturali e Ambientali of the Università degli Studi di Milano. The director of the Institute of Fine Arts–NYU and Università degli Studi di Milano archaeological mission on the acropolis of Selinunte, he is the author of Temple Decoration and Cultural Identity in the Archaic Greek World (Cambridge University Press, 2007) and the editor of The Oxford Handbook of Greek and Roman Art and Architecture (Oxford University Press, 2014).


Rodin to the Twentieth Century: Continuity and Discontinuity

25 February 2020 / 6:00 pm - 8:00 pm

CIMA is pleased to welcome Catherine Chevillot, General Heritage Curator and Director of the Musée Rodin, for a special talk on Marino Marini and the legacy of Rodin in the Twentieth century.

Since the beginning of 1900, Rodin has been considered an artist who profoundly changed the course of the history of sculpture. Some people saw him as the first artist of the Twentieth century, others – among them in particular young artists – were profoundly opposed to his way and style in the name of Modernity. Beyond these oppositions, the lecture will attempt to explain what in the work of Rodin fascinated young sculptors like Marino Marini, and how, at the same time, they were marked by his innovations and tried to develop their own vision.


Heritage Curator since 1987, Catherine Chevillot has successively held the positions of Deputy Director of the Musée de Grenoble (1988–1990), curator at the Musée d’Orsay (sculptures section, 1990–1996), Head of the Sculpture department at the Centre de Recherche et de Restauration des Musées de France (1999–2003), Head of Research at the Musée d’Orsay (2003–2008) and Chief Curator at the Musée d’Orsay for Sculpture (2008–2012). She has been running the Musée Rodin since 2012 and oversaw an extensive renovation campaign at the Hôtel Biron, where the museum’s collections are presented. The building reopened to the public on 12 November 2015. Chevillot is also Member of the Scientific Council at the Louvre Abu Dhabi. Acting chairman for the High Council of the Musées de France. Knight of the Legion of Honour in 2015.

Catherine Chevillot is a specialist in 19th and 20th century sculpture, and has produced numerous exhibitions in this field such as Emmanuel Fremiet, la main et le multiple (Dijon and Grenoble museums, 1988), Denys Puech (Musée de Rodez, 1992), François Pompon (1994, in collaboration with Liliane Colas and Anne Pingeot), Auguste Préault (1997, in collaboration), Oublier Rodin (Paris, 2009). She is responsible for the Catalogue des collections du xixe siècle du musée de Grenoble (1995), the directory A nos grands hommes (database of 5,000 sculpted monuments, INHA, 2004, soon to be published online), and does the groundwork for the Catalogue des sculptures du Musée des Beaux-Arts de Lyon (in collaboration with Claire Barbillon and Stéphane Paccoud). With a PhD in art history, she defended her thesis in 2013 (Université de Paris-Ouest Nanterre La Défense) entitled “Paris, creuset pour la sculpture (1900–1914).