Aperitivo & Drawing Night with Kaitlin McDonough

January 28, 2020

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!

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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.

Marino Marini and Henry Moore: An Italian Friendship

January 14, 2020

The talk will explore the friendship between two of the most celebrated sculptors of the 20^th century, Henry Moore and Marino Marini. Having met through the New York art dealer Curt Valentin, throughout the 1960s and 1970s they often spent time together on the coast of Tuscany in Italy, where Marini lived and Moore had a holiday home. In 1962 Marini made a portrait bust of Moore at his Forte dei Marmi villa. United by a love for Michelangelo’s sculpture, which was famously made from marble sourced from the nearby quarries in Carrara, and by a desire to both revisit and modernize the European tradition of sculpture, of which Tuscany offered many exceptional examples, Moore and Marini shared many creative concerns and greatly admired each other. The talk will also consider the network of friendships and professional contacts around the two sculptors, from the master carvers at stone merchants Henraux to prominent artists and intellectuals such as Jacques Lipchitz and Eugenio Montale.

Sebastiano Barassi is the Head of Collections & Exhibitions at the Henry Moore Foundation in the United Kingdom. Before joining the Foundation he was the Curator of Collections at Kettle’s Yard, University of Cambridge (2001–12) and worked at the Courtauld Institute Gallery in London (1999–2001). He regularly curates exhibitions and contributes to publications about Henry Moore and 20^th century sculpture. They include Henry Moore at Houghton Hall (Norfolk, 2019), Henry Moore Drawings: The Art of Seeing (Henry Moore Studios & Gardens, 2019), Henry Moore: Obsession, Vision, Creation (Arp Museum Banhof, Rolandseck 2017), Becoming Henry Moore (Henry Moore Studios & Gardens and Henry Moore Institute, Leeds 2017), Henry Moore: Arte en la Calle (15 cities in Spain 2014–17), We the Moderns: Gaudier-Brzeska and the Birth of Modern Sculpture (Kettle’s Yard, Cambridge 2007) and Immaterial: Brancusi, Gabo, Moholy-Nagy (Kettle’s Yard, Cambridge 2004).

MEMBERS ONLY TOUR: Bertoldo di Giovanni at the Frick Collection

December 05, 2019

Join us for a tour at the Frick Collection on December 5th for an in-depth look at the work of Florentine sculptor Bertoldo di Giovanni. Bertoldo di Giovanni (ca. 1440–1491) was a renowned student of Donatello, a teacher of Michelangelo, and a great favorite of Lorenzo “il Magnifico” de’ Medici, who was his principal patron. The exhibit consists of more than twenty of Bertoldo’s statues, reliefs, medals, and statuettes which constitute nearly his entire extant oeuvre. They are on view exclusively at the Frick, which also houses the only sculptural figure by Bertoldo outside of Europe. Bertoldo di Giovanni: The Renaissance of Sculpture in Medici Florence brings into focus the sculptor’s unique position at the heart of the artistic and political landscape in fifteenth-century Italy.

The tour will be guided by one of our current fellows Claudia Daniotti. Claudia is an art historian and researcher specializing in Italian Renaissance art, with an emphasis on iconography, the classical tradition and the transmission of visual motifs from antiquity to the present times. She holds a PhD from the Warburg Institute, University London, and a BA (Hons) and MA in History of Art from the Ca’ Foscari University, Venice. Her first monograph on the reception of the myth of Alexander the Great in Renaissance Italian art, based on her doctoral dissertation, will be published in 2020.

Claudia is an experienced tour guide, having led bespoke guided tours to museum permanent collections and temporary exhibitions for years, both in Italy and the UK. She has published extensively in the fields of the classical tradition and fourteenth- to eighteenth-century art history, contributing essays, articles and catalogue entries to a number of edited volumes, journals, exhibition catalogues and conference proceedings.

Please note this tour is limited to 15 people and it will be free though we do ask that members donate if they can. 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, first serve 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.

Eternal Bauhaus: Myths, Legends, and Contributions of the Bauhaus on its 100th Birthday

December 03, 2019

At first, the Bauhaus was as much a radically experimental art and design school, as it was a means for promulgating ideas about modernism in design far beyond the provincial German cities of Weimar and Dessau, where the school made its home for all but the final year of its short existence.   The school lasted only 14 years, before it was closed under pressure from the National Socialist Government that came to power in Germany in 1933.  Long before that, however, its unusual name had become synonymous with modernist design, the result of the Bauhaus’ creative use of publications and exhibitions to broadcast its philosophy and to amplify its achievements.  In the exhibition which took place in Weimar in 1923, the school displayed student work, and also harnessed a panorama of European modernism associating the work of architects from the Netherlands with the work of the students and masters in the United States.  Reality and myth began to fuse in the perception of the Bauhaus, where in fact no architectural instruction was offered until the school moved to Dessau a few years later.   This lecture will look at the difficult task of distinguishing the Bauhaus as school, from the Bauhaus as a propaganda machine.   Already a force during its lifetime, the Bauhaus only grew after its demise, as its legacy got caught up in the politics of the Second World War and then the Cold War.   The talk will also examine the question, to what extent has the opening of two new museums and hundreds of exhibitions in this centennial year of the Bauhaus contributed to a deeper understanding or reinforcement of myths forged through exhibitions for nearly a century.

Barry Bergdoll is Meyer Schapiro Professor of Art History at Columbia University and the former Chief Curator in the Department of Architecture and Design at the Museum of Modern Art, New York.  A specialist in the history of modern architecture, he curated numerous exhibitions at MoMA, the Canadian Centre for Architecture, the Musée d’Orsay, and other venues, including Mies In Berlin (2001), Bauhaus 1919–1933: Workshops for Modernity (2009–2010), Latin America in Construction : Architecture 1955-1980 (2015) and Frank Lloyd Wright at 150 : Unpacking the Archive (2017).

He is the author most recently of Marcel Breuer: Building Global Institutions (2017), and many other publications including  Mastering McKim’s Plan: Columbia’s First Century on Morningside Heights (1997) and European Architecture 1750–1890 (2000).

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As a special addition to the evening please join us for a prior to the lecture for a complimentary reception with a wine tasting* and hors d’oeuvres from 5PM – 6PM hosted by Santi Wines. The Santi Winery is situated in the heart of the most acclaimed wine growing zones in the Veneto near Lake Garda and is devoted to the production of Soave Classico, Valpolicella and Amarone.

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

November 19, 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

November 13, 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. 

PATRICIA CRONIN AND THE LURE OF ANTIQUITY

November 07, 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

November 06, 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. 

MEMBERS-ONLY TOUR OF CHRISTIE’S

November 04, 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.

DRAWING NIGHT & APERITIVO WITH BEATRICE SCACCIA

October 29, 2019

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