Search results for ""American Academy in Rome""

The Memoirs of the American Academy in Rome, an annual publication of the American Academy in Rome, gathers articles on topics including Roman archaeology and topography, ancient and modern Italian history, Latin literature, and Italian art and architectural history. Volume 63/64 is the first volume edited by Sinclair W. Bell, Professor of Art History at Northern Illinois University. This volume includes the following essays and articles:" Incised and Stamped Ceramics from Morgantina: Taking the Long View" by Emma Buckingham and Carla M. Antonaccio; "Early Iron Age and Orientalizing Mediterranean Networks from Funerary Contexts in Latium vetus: Identifying Gender and Special Patterns of Interaction" by Francesca Fulminante; "Herakles on the Move: A Greek Hydria's Journey from Athens to Vulci" by Sheramy D. Bundrick; "A Hemicycle with a View" by Barbara Burrell; "Coinage Programs and Panegyric in the Reign of Trajan: Imagery, Audience, and Gency" by Nathan T. Elkins; "Matidia Minor and the Rebuilding of Suessa Aurunca" by Margaret Woodhull; "Sesostris' Chariot in a Roman Circus? A New Interpretation of a Scene Depicted on an Imperial Oil Lamp" by Sylvain Forichon; "The Sylloge Einsidlensis, Poggio Bracciolini's De Varietate Fortunae, the Turris de Arcu, and the Disappearance of the Arch of Titus in the Circus Maximus" by Tommaso Leoni; "Three Drawings of the Domus Aurea and the Colosseum at the Uffizi: Disiecta membra froma Drawing-book after the Antique?" by Marco Burnetti; and reports from the American Academy in Rome covering 2017-2019.

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Combining cultural analysis with historical and personal accounts of a century of musical life at the American Academy in Rome, this volume provides a history of the AAR's Rome Prize in Composition. The American Academy in Rome launched its Rome Prize in Musical Composition in 1921, a time in the United States of rapidly changing ideas about national identity, musical values, and the significance of international artistic exchange. Music and Musical Composition at the American Academy in Rome tells the story of this prestigious fellowship. Combining cultural analysis with historical and personal accounts of a century of musical life at the American Academy in Rome, the book offers new perspectives on a wide range of critical topics: patronage and urban culture, institutions and professional networks, musical aesthetics, American cultural diplomacy, and the maturation ofa concert-music repertory in the United States during the twentieth century. Contributors: Martin Brody, Elliott Carter, John Harbison, Christina Huemer, Carol J. Oja, Andrea Olmstead, Vivian Perlis, Judith Tick, Richard Trythall Martin Brody is the Catherine Mills Davis Professor of Music at Wellesley College, and served as the Andrew Heiskell Arts Director at the American Academy in Rome from 2007 to 2010.

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Award-winning author to watch: winner of the 2015 Lucien Stryk Prize, short-listed for 2015 Griffin International Poetry Prize and read to crowd of 1,300 at gala awards ceremony in Toronto; recipient of a PEN/Heim Translation Grant and a year-long Fulbright Fellowship in China; was Artist-in-residence at American Academy in Rome. • Blurbs by Robert Pinsky and Ha Jin

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Robert Venturi's Rome is a guidebook to the city of Rome, seen through the eyes of Robert Venturi, reinterpreted by two subsequent Rome Prize fellows and architects, Frederick Fisher and Stephen Harby. Published in 1966, Venturi looks at architecture, landscape and art as different manifestations of common themes. For students, the book is fundamental to the development of any young architect's outlook on architecture. Venturi wrote the book following a two year Rome Prize fellowship at the American Academy in Rome, and there is no doubt that the city had a profound influence on his thinking. He used many buildings in Rome as examples to illustrate his theories. From the Pantheon, through works by his favourite artist, Michelangelo, and on to 20th century buildings by Armando Brasini and Luigi Moretti, Venturi reveals Rome as a complex and contradictory city.

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This publication documents Trajan's Hollow, a transformative reproduction of Trajan's Column in Rome, to address issues of critical importance in contemporary architectural practice: a reconsideration of architectural poch (both programmatic and material), the use of scale shift as a tool for transforming shape and content, and the role of subversive reconstruction in an era of digital scanning and replication. The publication offers an alternative model for the close reading of historical artifacts through an analysis of Trajan's Column and its material progeny, including the casts and copies of the column produced over 2,000 years and contemporary reconstructions of the column executed by the author while in residence at the American Academy in Rome. Although this second-century monument located in the heart of Rome has been the object of hundreds of years of study, Trajan's Hollow uncovers aspects of the column curiously omitted amidst all this attention, manifesting the lacunae in various paradigms of historical inquiry: this work rereads the column and its legacy through the simple act of prioritizing the embodied occupation of its interior over the analysis of its exterior narrative frieze. By focusing on traces of workmanship (chisel marks, seam lines, tool dimensions), material attributes (provenance, behavior, constraints, change in qualities over millennia), and the experience of habitation (interior atmosphere, circulation, functional details), the project develops an alternative understanding of the historical artifact and of its role in contemporary design.

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A visual and conceptual conversation between two leading US photo-artists famed for their mutual explorations of race, class and power Dawoud Bey and Carrie Mae Weems met in New York in the late 1970s, and over the next 45 years these close friends and colleagues have each produced unique and influential bodies of work around shared interests and concerns. This publication brings together over 140 photographs and video art from the 1970s through the 2010s by two of our most notable and influential photo-based artists. Since first meeting at the Studio Museum in Harlem five decades ago, Bey and Weems have maintained spirited and supportive mutual engagement while exploring and addressing similar themes: race, class, representation, and systems of power. Dawoud Bey & Carrie Mae Weems: In Dialogue brings their work together in five thematic groupings to shed light on their unique creative visions and trajectories, and their shared concerns and principles. Photographer Dawoud Bey (born 1953) had his first exhibition at the Studio Museum in Harlem in 1979. Since then, his work has been presented internationally to critical and popular acclaim. Recent large-scale exhibitions of his photographs have been presented at the San Francisco Museum of Modern Art, the Whitney Museum of American Art, the Art Institute of Chicago and Tate Modern, London. Bey’s writings on his own and others’ work are included in Dawoud Bey: Seeing Deeply and Dawoud Bey on Photographing People and Communities. He is a professor of art and Distinguished College Artist at Columbia College Chicago. Famed for her Kitchen Table Series, among other works, Carrie Mae Weems (born 1953) explores power, class, Black identity, womanhood, and the historical past and its resonance in the present moment. In addition to photography, Weems creates video, performance and works of public art, and organizes thematic gatherings which bring together creative thinkers across a broad array of disciplines. Her work has been exhibited across the world, at venues such as the Frist Center for the Visual Arts, the Solomon R. Guggenheim Museum, the Centro Andaluz de Arte Contemporáneo and the American Academy in Rome.

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In 1978 Luigi Ghirri self-published his first book, an avant-garde manifesto for the medium of photography and a landmark in his own remarkable oeuvre. Kodachrome has long been out of print and on the 20th anniversary of Ghirri's death, MACK is proud to publish the second edition. 'Ghirri fights to maintain our ability to see. His works are powerful devices for the re-education of the gaze. They alter the perception we have of the world without proposing a single path to follow, rather they provide us with the tools we need to find the one we're looking for.'Francesco Zanot Part amateur photo-album, Ghirri presents his surroundings in tightly cropped images, making photographs of photographs and recording the Italian landscape through it's adverts, postcards, potted plants, walls, windows, and people. His work is deadpan, reflecting a dry wit, and is a continuous engagement with the subject of reality and of landscape as a snapshot of our interaction with the world. This new edition of Kodachrome is published as a facsimile of the original, adopting the original design, text layout and image sequence, but using new image files scanned from Ghirri's original film to take advantage of modern technology and printing methods. A small booklet is included with an essay by Francesco Zanot, which offers a contemporary perspective on the historical impact of Kodachrome, alongside French and German translations of the original texts from the book (which were published in English and Italian). 'The daily encounter with reality, the fictions, the surrogates, the ambiguous, poetic or alienating aspects, all seem to preclude any way out of the labyrinth, the walls of which are ever more illusory... to the point at which we might merge with them... The meaning that I am trying to render through my work is a verification of how it is still possible to desire and face a path of knowledge, to be able finally to distinguish the precise identity of man, things, life, from the image of man, things, and life.' Luigi Ghirri Born in Scandiano in 1943, Luigi Ghirri spent his working life in the Emilia Romagna region, where he produced one of the most open and layered bodies of work in the history of photography. He was published and exhibited extensively both in Italy and internationally and was at the height of his career at the time of his death in 1992. Photography critic and curator Francesco Zanot has been working with some of the most renowned European and international photographers, including Alec Soth and Olivo Barbieri, for over 10 years. He has participated in multiple conferences and seminars on photography in different institutions such as Columbia University in New York and the American Academy in Rome. He is associate editor of Fantom, photographic quarterly magazine based in Milan and New York.

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