When you come from an immigrant family, even if you are the child or grandchild of people who arrived here from another country, you live in two worlds: the one that nurtures you at home and the one outside that shapes you with different ideas and cultural norms. This bifurcated reality is so much a part of your existence that you become adept at navigating between two shores, not really thinking about it as navigation but simply as how you live your life.
Panorama from the hallway as you peer through the institute's glass wall
I'll take you around, below
The passage of time has offered me the opportunity to reflect on my Italian American childhood and the riches (as well as burdens) it has bestowed on me. I contacted other artists of Italian American heritage and found that we all shared similar stories. I also talked to artists who were born in Italy but make a home here. Then I reached out to artists in the Italian diaspora, in Canada, Australia, and from Argentina. From those conversations I created a website and then a book (links at the bottom of this post). This exhibition sprang from the book.
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Welcome to the exhibition. Il Corno by Claudia De Monte greets you as you enter
In Italian folklore, the corno, or horn, keeps the evil away
Exhibition particulars
. A Legacy of Making is at the John D.Calandra Italian American Institute in Manhattan
. 25 W. 43rd Street (between Fifth and Sixth Avenues), 17th floor
. Exhibition extended: The show is up through the end of April, 2024
. Hours are Monday-Friday, 9:00-5:00
. The last in a series of talks will take place on December 13; scroll to the end for specifics
. More information: Calandra Institute website
. More information: Calandra Institute website
Nancy Azara, Mary Schiliro, two by Angelica Bergamini, B. Amore
Nancy Azara Tree Altar, 1994, carved and painted wood with gold leaf
Azara grew up in the 1940s at a time when Italian girls didn't go to college. She did, studying fashion and costume design, but she found her way carving wood on a grand scale
Mary Schiliro, Dip Drip Snip 5, 2020, acrylic on Mylar
Schiliro hews to a rigorous poetry of form. She will tell you that she has been influenced by Giotto's "shallow and compressed pictorial space"
Angelica Bergamini, Fra Mare e Cielo (Between Sea and Sky), 2020, mixed media, monotype, collage on paper
Born in Tuscany to a family of shipmasters, Bergamini is inspired by the voyage
B. Amore, two by Diana González Gandolfi, Zukowski on pedestal
B. Amore, Following the Thread IV: Concettina De Iorio, 1999, copper, wood, photo, fabric, thread
This assemblage of photos, letters, and objects highlights the life of Amore's grandmother, Concettina De Iorio, who made the journey over in the early 1900s
Diana González Gandolfi, Now We Know Where We Are: 2008 Buenos Aires (Navigated Territories Series), 2017, mixed media monotype on panel, diptych
Born in Argentina to a family that maintained Italian traditions (her great-grandfather fought side by side with Garibaldi), González Gandolfi employs the iconography of the map, which traces her journey from there to here
Diana González Gandolfi, Bearing Witness: 1983 Buenos Aires (Navigated Territories Series), 2016, mixed media collagraph and collage on panel (framed); on pedestal: Lisa Zukowski, three from the Bundle Series, 2015, and Dark Memories, the larger work, mixed media with burlap and string
Below: Zukowski's Bundle Series No 12
Zukowski's wrapped packets recall the string-tied bundles that accompanied so many of our antecedents in steerage on their voyage here
Zukowski's wrapped packets recall the string-tied bundles that accompanied so many of our antecedents in steerage on their voyage here
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Left wall: Schiliro, Amore, González Gandolfi; pedestal: Zukowski; back wall: Karen Schifano, Gianluca Bianchino, Timothy McDowell
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Continuing along back wall: Schifano, Bianchino, McDowell, Chris Costan, Carolanna Parlato, Jennifer Cecere (top), Joanne Mattera
Karen Schifano, Something's Brewing, 2022, flashe on canvas
The granddaughter of immigrants and daughter of artists, Schifano paints without an "accent," referencing empty spaces from which forms may emerge
Gianluca Bianchino, Bubbleverse— Outward Orange, 2022, mixed media
Bianchino makes sculptures and relief constructions with a mechanical bent. An arrival to this country with his family in 1980, he says that it's not the romance of the past that inspires him, but the energy of the present and future
Timothy McDowell, Siren's Call, 2023, oil on panels
Don't let the name fool you. McDowell's maternal family, the Macellari, have lived on their ancestral land for centuries, and McDowell has returned there for part of every year. His work draws from Renaissance painting and current events, here a reference to the recent immigrants to Italy's shores
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Continuing around the gallery: Costan, Parlato, Cecere, Mattera, Anna Patalano, Costan; far wall: Elisa D'Arrigo (also on pedestal), John Monti
Two by Chris Costan
Above: I Believe 4, 2023, textile pieces and mixed media on paperer
Above: I Believe 4, 2023, textile pieces and mixed media on paperer
Below: Glow Worm, 2016, fabrics and sewing notions on paper
Costan's work draws from the tradition of handwork that was taught to so many young women
Carolanna Parlato, Swipe Up, 2022, acrylic on canvas
Parlato's familial experience includes immigrants on both sides, but her painting is situated in the mainstream of contemporary art
Jennifer Cecere, Red Star, 2011, acrylic on laser-cut ripstop nylon
Cecere learned the needle arts at a young age. Now she makes "lace" from laser-cut nylon--which she may paint with acrylic, as here--or metal, often for public art commissions
Joanne Mattera, Silk Road 338, 2016, encaustic on panel
I learned to knit, embroider, and sew from my maternal aunts. Although I went to art school and became a painter, there is an undeniable textile sensibility to my work
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Anna Patalano, Clashing Cs, 2022, oil on linen
The daughter of immigrant parents who grew up speaking dialect Italian at home, Patalano sees painting as a way to express what she cannot in any other language
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Patalano, Costan, D'Arrigo (pedestal and wall), Monti
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Elisa D'Arrigo, John Monti
Elisa D'Arrigo
Above: Shift into Black, 2007, sewn cloth and mixed media
Below: Elisa D'Arrigo, Double Dyad, 2010, hand-built and glazed ceramic
D'Arrigo works across mediums and techniques, including hand-building clay vessels and stitching rough-hewn hangings. She credits her Bronx upbringing, where in her family "everyone made things"
Elisa D'Arrigo, Double Dyad, 2010, hand-built and glazed ceramic
D'Arrigo works across mediums and techniques, including hand-building clay vessels and stitching rough-hewn hangings. She credits her Bronx upbringing, where in her family "everyone made things"
John Monti, detail of Black Frost, 2021, urethane resin, pigments, glitter
Monti taps the glorious excesses of Neapolitan Baroque for his sculpture
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On foreground pedestal: D. Dominick Lombardi with full view below
D. Dominick Lombardi, , CCWS 28, 2018, sand, wood, papier mâché, gesso, plexiglass, piano keys, chair leg, acrylic medium, acrylic paint
Lombardi learned woodworking from his father and grandfather, though they might be surprised at how he has applied the skills they taught him
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Another installation view of Lombardi sculpture
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Continuing around the gallery with John Avelluto, right
John Avelluto. Due Facci, 2020, acrylic on panel
Avelluto elevates popular hand gestures to an art form--the hand flicked from under the chin in an expression of Me ne frego, I don't give a damn, to the fingers brought to the lips in a grand show of satisfaction
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Lombardi, Avelluto, DeMonte; on back wall: Denise Sfraga, Patricia Miranda
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DeMonte, Sfraga, Miranda
Patricia Miranda takes handmade and commercial lace, dyes it red, and constructs large-scale pieces she calls "shrouds"--monuments to the women in her family, their labor in maintaining homes and families, and perhaps the blood of so many fingers pricked in the execution of handwork
Denise Sfraga, clockwise from left: Fetish augusta 6, Fetish micro 4, Fetish augusta 1, all 2021, colored pencil on paper mounted on panel; Patricia Miranda, Lamentation for a Reasoned History, 2023, donated hand-dyed lace, thread, dressmakers' pins, paper clay, cast plaster
Below: Denise Sfraga, Fetish augusta 1
Sfraga paints otherworldly forms rooted in botany, suggestive of the life cycle from seeds to growth, to decay
Detail of Miranda's Lamentation for a Reasoned History; far wall, Denise Sfraga, Fetish augusta 6
Photo: Chris Costan
Photo: Chris Costan
Last view, with wall text
Here's the curators' text in case you can't see it clearly in the photo above:
Here's the curators' text in case you can't see it clearly in the photo above:
The work of the twenty-one artists featured in this exhibit offers a richness of form, medium, subject matter, color, and style that is a delight and a revelation to behold. Connections to a discernable Italian art tradition--or for that matter to Italian American aesthetic practices more specifically--vary across the exhibition, ranging from the explicit to the suggestive to the nonexistent. A dynamic tension operates in which a usable past is employed to create not only art of the moment but a reimagined and reconfigured ethnic sensibility. Ultimately such creative diversity is predicated on a heterogeneity of experiences, sensibilities, and understandings that serve as inspiration for transformative acts of beauty.
Below: the two curators with audience. Joseph Sciorra, director of academic and cultural programs at the John D. Calandra Italian American Institute, addresses guests at the start of the exhibition; I'm seated in the front row
Wait, there's more!
Wait, there's more!
In conjunction with the exhibition there will be three evenings of artists talks. All take place on Wednesday evenings from 6:00-7:30. For the first two evenings we invited artists who are not part of the exhibition, but whose inclusion, each with a slide talk, allows us to expand the parameters of the show. I hope you'll attend. If you plan to, please RSVP to Calandra: 212-642-2094
October 18
Paul Fabozzi, painter
October 18
Paul Fabozzi, painter
Dario Mohr, installation
Don Porcaro, sculptor
Josette Urso, painter
November 8
Milisa Galazzi, mixed media
Margaret Lanzetta, painter
Wayne Montecalvo, printmaker
Laura Moriarty, sculptor
December 13
Informal conversation with the exhibiting artists in the gallery. This is a good opportunity to see the work up close and hear from the artists who made it
Informal conversation with the exhibiting artists in the gallery. This is a good opportunity to see the work up close and hear from the artists who made it
Acknowledgments
Thanks to painter John Avelluto for his expert hanging of the show; Rosangela Briscese, assistant director for academic and cultural programs
Reading
Features the work of 59 artists--Italian American, Italian in America, and from the Italian diaspora
296 pages
Link here
Link here
An Italian American Colloquy in Two Coats of Paint
Short article about the Calandra opening in La Voce di New York
Creatività diasporiche: Dialoghi transnazionali tra teoria e arti Edited by Loredana Polezzi and others, in Italian and English, which includes the work of B. Amore, who in is the exhibition, and Luci Callipari-Marcuzzo, who is in Italianità, the website and book
