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.
On behalf of KATESHIN Gallery at Waterfall Mansion, it is a pleasure to invite you to Feel Life Summer Art Festival 2014, Thursday, June 12 through August 31 with a black tie VIP Opening Reception from 6-9 pm on June 12. FEEL LIFE Summer Art Festival 2014 at the Gallery & Waterfall Mansion will feature the paintings of the Spanish artist Javier Infantes, Italian artists such as Antonio Pio Saracino, Borinquen Gallo, Carlo Sampietro, Warhol, Murakami, Meier and much more.
Co-curator of the Festival
KATESHIN Gallery and Waterfall Mansion is proud to present Summer Art Festival 2014 (SAF 2014), a celebration of extraordinary emerging and established artists, between June and August 2014 and a VIP Opening Reception on June 12, 2014.
SAF 2014 will present original works by international contemporary artists alongside some of the biggest art world names and offer exclusive VIP tours and special events that feature cutting-edge work across multiple creative industries, including fashion, film, industrial design and music. There will be a special event every other week during the exhibition, including an art forum, a concert, a celebrity chef demonstration and tasting, a fashion show event, a jewelry show and a book and film event.
Under the visionary direction of developer and owner Kate Shin and her "Art, Architecture, Design & Lifestyle" paradigm, KATESHIN Gallery and Waterfall Mansion once again proves to be an incubator for innovative collaboration within the contemporary market.
Hyongnam Ahn, Lili Almog, Robin Antar, Zana Briski, Mia Brownell, Joseph Carini, Pablo Carpio, Jamison Carter, Stanley Casselman, David Chang, Jinwon Chang, Sunjoo Chung, Cristina Cordova, Bradley Ehrsam, Carole Feuerman, Daniel Fiorda, Danielle Frankenthal, Richard Gabriele, Borinquen Gallo, Jedd Garet, Auguste Garufi, Ray Geary, Chul Gwag, Charles Hinman, Sungchul Hong, Robert Indiana, Javier Infantes, Daphne Jiyeon Jang, Uk-Hee Jang, Kaoruko, Jae Yong Kim, Yeon-Su Kim, Young-Sung Kim, Koh Sang Woo, Esmeralda Kosmatopoulos, Hye Rim Lee, Sangyong Lee, Seung-hee Lee, Jacque Liu, Michael Lucero, Richard Meier, Heather Merckle, Roger Mudre, Antonio Murado, Takashi Murakami, Geraldine Neuwirth, John Newsom, Chau-Giang Thi Nguyen, Nam June Paik, Sangwook Park, Seungmo Park, Youngha Park, Antonio Pio Saracino, Melodie Provenzano, Karim Rashid, Rostarr, Ernestine Ruben, Sarah Saito, Jamie Salmon, Carlo Sampietro, Jackie K. Seo, Zin Helena Song, Kim Squaglia, Jessica Stockholder, Matthew Towers, Andy Warhol, George Whiteside, Yang Yang, Yoon Hyup.
Kate Shin, Alessandro Berni
"From street to Art" is an overview of Italian Street Art through the work of 10 contemporary artists, hosted by the Italian Cultural institute of New York, and curated by Simone Pallotta. The exhibition presents the individuals who have determined the Italian Street Art scene over the past two decades, presenting works which portray authoritative and personal artistic vision. The purpose is to show the development of a new generation of artists who share a strong urban presence and establish a dialogue with the Italian artistic avant-garde. Since the 1970's, New York has inspired the birth of a new urban culture, conquering the art world by defining a renewed way of connecting with the public space. Graffiti is exemplary of this phenomenon, while speaking a language unintelligible to the masses. With the first exhibition of Italian Street Art right in New York, we observe a strong and independent creative propulsion, which has led some of these artists to present their work within more understandable formal schemes. It is at a distance from graffiti, while maintaining a closer connection with the public, and giving a strong sense of urban presence. The exhibition investigates a generation of artists, who are beginning to shape the future of art in Italy, and of Italian art in the world: Agostino Iacurci, Aris, BR1, Cyop&Kaf, Dem, Eron, Hitnes, Sten&Lex, Ufo5, 2501. On view Monday through Friday, 10 AM to 4PM.
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
The commemoration of Vito Marcantonio's death will take place at his gravesite, where he is buried next to his wife, Miriam Sanders, and nearby his mentor, Mayor Fiorello LaGuardia. Bring flowers and share your thoughts about Vito Marcantonio at the ceremony. The ceremony will feature: Gerald Meyer (Hostos Com. Col.), author of Vito Marcantonio: Radical Politician, 1902-1954, will eulogize Marcantonio. Roberto Ragone, actor and business/cultural consultant, dramatization of Vito Marcantonio speech. Troy Hodges, actor, dramatization of Paul Robeson funeral eulogy. Woodlawn Cemetery Our starting point will be outside the Woodlawn stop on the 4 train, a half block from Woodlawn Cemetery's Gate House (at Jerome & Bainbridge Aves) Join VMF after the event for pizza and conversation at Giovanni's
Why do we want to bring Futurism to the stage? Because it's part of our history. Because we are in love with the transcendent tomorrow. Because we believe in the wireless imagination. Theatre is life. Life is movement. Movement is Futurism. A Great Futurist Evening depicts the life, the movement, the power and the habit of energy that the Futurists demanded from Italy, a country that had, perhaps, already lost the "love of danger and fearlessness". Massimiliano Finazzer Flory examines the power of affirmation, of fantasy, and of technological civilizations with words of freedom and imagination. He becomes the "athlete of the heart" taking on the role of Filippo Tommaso Marinetti and his Futurist Manifestos. Without Marinetti there would be no Futurism. Finazzer Flory also gives a voice to Giovanni Papini, one hundred years after the publication of his controversial and fledgling magazine Lacerba. Papini worked against a useless admiration of the past in favour of the young generation. An intense, incendiary performance, that touches the identity of man, at the heart of which voice and body come together to sing, "the great crowds agitated by work, pleasure and revolt".