Italy in New York è gestito in collaborazione con il Consolato Generale d’Italia a New York.
Italy in New York is managed in collaboration with the Consulate General of Italy in New York.
Address by the Consul General of Italy in New York
Francesco Maria Talò
Italy in New York è diviso in due sezioni: la prima relativa ad informazioni dirette agli operatori economici italiani che per la prima volta si affacciano sul mercato statunitense (guide commerciali, contatti di Istituzioni, contatti di professionisti, ecc.); la seconda sezione costituita da una parte interattiva dove vengono pubblicati gli eventi principali che si tengono nell’area di New York, distinti per settori di attività, dove gli operatori interessati – Istituzioni italiane, Organizzazioni regionali, Associazioni di categoria ed imprenditori – possono inserire eventi che desiderano pubblicizzare ad un più vasto pubblico.
Italy in New York is divided into an informational section where events are flagged according to their field of operation, and an interactive part where users - be they Italian institutions, regional organizations, business associations or entrepreneurs - can submit information that they wish to transmit to a wide public.
The first comprehensive overview of Italian Futurism to be presented in the United States, this multidisciplinary exhibition examines the historical sweep of the movement from its inception with F. T. Marinetti's Futurist manifesto in 1909 through its demise at the end of World War II. Presenting over 300 works executed between 1909 and 1944, the chronological exhibition encompasses not only painting and sculpture, but also architecture, design, ceramics, fashion, film, photography, advertising, free-form poetry, publications, music, theater, and performance. To convey the myriad artistic languages employed by the Futurists as they evolved over a 35-year period, the exhibition integrates multiple disciplines in each section. Italian Futurism is organized by Vivien Greene, Curator, 19th- and Early 20th-Century Art, Solomon R. Guggenheim Museum. In addition, a distinguished international advisory committee has been assembled to provide expertise and guidance.
This exhibition features masterpieces of Central and Southern Italian drawing spanning the fifteenth and sixteenth centuries. Among the forty-two works, Florentine drawings are especially well represented by such celebrated Renaissance masters as Leonardo da Vinci and Antonio Pollaiuolo, while among the Southern Italian examples is a rare sheet attributed to Antonello da Messina.
Explorations of the human form through figure studies and portraits, as well as expansive compositional sketches for biblical and mythological narratives, present a wide spectrum of drawing types and subjects, both sacred and secular. The exhibition examines the varying ways that drawings functioned in the Renaissance, from working tools in artists' workshops to sheets made for patrons. Representing different stages of the design process, the selection ranges from rapid preliminary sketches and detailed figural studies to highly finished compositional drawings. Several examples bear physical evidence of their use in the workshop to transfer or enlarge designs. While the role of drawings as preliminary for paintings is well known, the selection illustrates the primacy of the medium for designing a broad range of media, including sculpture and textiles.
The exhibition explores the evolving role of drawings during the Renaissance. While they played a practical role as tools in the workshop, beginning in the sixteenth century, drawings were increasingly valued by a wider public as expressions of artists' creative processes and as highly prized objects worthy of collecting. Illustrating the relationship between theory and practice, the drawings are considered in the context of fifteenth- and sixteenth-century treatises, which lend a contemporary voice to developments in technique and medium, as well as the role of drawing during the Renaissance.
While the achievements of Giovanni Battista Tiepolo (Italian, 1696-1770) and Giovanni Domenico Tiepolo (Italian, 1727-1804) as fresco painters, draftsmen, and printmakers in Italy, Germany, and Spain have been celebrated extensively, their caricatures have not garnered equal attention. This exhibition of drawings by the Tiepolos from the Robert Lehman Collection presents a cast of characters shared between father and son. Giambattista's caricature studies, produced in great quantity and pasted into albums, catalogue variations of pose and dress derived from contemporary Venetian life. Retained after his father's death, Domenico looked to Giambattista's readily convenient repertoire for inspiration as he turned to drawing in his later years. Produced at the very end of his life, Domenico's Divertimento per li regazzi (Entertainment for Children), a series of 104 drawings featuring the commedia dell'arte character Punchinello, is his crowning achievement as a draftsman. Conventions of gesture, rhetoric, costume, and performance are considered in this small selection of Tiepolo caricatures.
From 1570 to 1576, El Greco (1541-1614) worked in Rome, where he endeavored to establish himself as a portrait painter. The artist's magnificent Vincenzo Anastagi - a full-length standing portrait representing the largest of only three examples of his work in this genre to survive from the period - offers a vital expression of his ambition and invention. To mark the 400th anniversary of El Greco's death, the Frick pairs Vincenzo Anastagi, purchased by Henry Clay Frick in 1913, with the rarely seen Portrait of Jacopo Boncompagni by the artist's Roman contemporary Scipione Pulzone (c. 1540/42-1598), on loan from a private collection. Both subjects are depicted wearing armor, which communicated a complex range of associations with masculinity, military valor, wealth, and social status. Pulzone's refined portrait of Boncompagni, commander of the papal army during the reign of his father, Pope Gregory XIII, epitomizes the elegant style that dominated high-society portraiture in late sixteenth-century Rome. El Greco's expressive portrayal of Anastagi, appointed by Boncompagni as sergeant major of Rome's Castel Sant'Angelo in 1575, stands in stark contrast, underscoring the artist's innovative departures from convention. The exhibition is organized by Jeongho Park, Anne L. Poulet Curatorial Fellow. - See more at: http://www.frick.org//exhibitions/men_armor#sthash.zBNvEa0I.dpuf
Almoraima is a multi-ethnic group based in Salento, which presents an original sound inspired by Gypsy musical tradition and, in particular, by the musical connections developed by them on the various sides of the Mediterranean: Southern Italy, Southern Spain, Balcans, Maghreb and Mashrek. It is no coincidence then that the group takes its name from that strip of the Andalusian land between Jerez de la Fronteira, Cordoba and Sevilla, an asylum for refugees Sindi from Rajasthan, North African Moors, Jews, and Spanish coming back from journeys to the Americas, from where they imported innovative rhythms and sounds. The group revolves around the figure of guitarist Massi Almoraima, composer of the music and texts. Talented Vocalist Rachel Andrioli is the latest addition to the group. The formation is completed by ethnic percussionist Roberto Chiga, classical cellist Frederick Musarò, jazz bassist Marco Bardoscia and accordionist Rocco Nigro.