AMERICAN ACADEMY IN ROME MAGAZINE SPRING 2017 Welcome to the Spring 2017 issue of AAR Magazine.

This issue of AAR Magazine offers a summation of a very productive year. We feature the scholars and artists in our creative community at the culmination of their research and look at how the Fellows’ Project Fund has expanded their possibilities for collaborat- ing and presenting their work in intriguing ways. We update this year’s exploration of American Classics with reports on a February conference and previews of events still to come, including an exhibition fea- turing new work by artist Charles Ray. You will also find a close look at AAR’s involvement in archaeology and details of a new Italian Fellowship sponsored by Fondazione Sviluppo e Crescita CRT. And, of course, we introduce the Rome Prize win- ners and Italian Fellows for 2017–2018!

Vi diamo il benvenuto al numero “Primavera 2017” dell’AAR Magazine. Questo numero dell’AAR Magazine riassume il lavoro prodotto in un anno eccezionale. Vi presentiamo gli studiosi e gli artisti della nostra comunità creativa al culmine della loro ricerca e siamo lieti di mostrare quanto il Fellows’ Project Fund abbia ampliato le loro possibilità di collaborare e presentare le proprie opere in modo affascinante. Aggiorniamo la pan- oramica fatta quest’anno sugli American Classics con il resoconto del convegno tenutosi a febbraio e con le anticipazioni sui prossimi eventi, tra i quali una mostra con una nuova opera dell’artista Charles Ray. Daremo uno sguardo da vicino all’impegno dell’AAR nel campo dell’archeologia e alla nuova Borsa di studio per Italiani finanziata da Fondazione Sviluppo e Crescita CRT. E ovviamente vi presentiamo i vincitori del Rome Prize e gli Italian Fellows per l’anno accademico 2017-2018! SPRING 2017

2 44 LETTER FROM THE PRESIDENT TWENTY-FIRST-CENTURY ARCHAEOLOGY Director Kimberly Bowes highlights AAR’s 4 ongoing commitment to archaeology FAR AFIELD Checking in with Fellows and Residents 48 CHARLES RAY IN ROME 6 Celebrated artist debuts new work influenced ROMAN NUMERALS by classical sculpture The 2017 Rome Prize competition by the numbers 50 7 SUPPORTING INNOVATION INTRODUCING Fondazione Sviluppo e Crescita CRT establishes The 2017–2018 Rome Prize winners and Italian Fellows a new AAR Italian Fellowship

11 IN RESIDENCE Spotlighting recent Residents 51 DONORS 22 FROM THE ARCHIVES 52 Lukas Foss CURRENT FELLOWS 2016–2017 Rome Prize winners and Italian Fellows 23 CONVERSATIONS/ CONVERSAZIONI 56 What defines America? WHEN IN ROME Current Fellows share the favorite places they’ve discovered in Rome FEATURES

24 HARD AT WORK Current Fellows reveal what’s happening in their studios and studies

34 PROJECTING AMERICANISM ABROAD Italy and the Cold War

35 CREATIVE COLLABORATIONS Fellows present their work in Rome and beyond LETTER FROM THE PRESIDENT:

L’Accademia, come istituto di ricerca avanzata, sostiene quella forma di pensiero critico necessaria a sorreggere una società civile. In tutti i nostri pro- grammi, il lavoro di studiosi e artisti rivela e avvalora l’idea della complessità della storia, della varietà dell’impegno umano e dei benefici derivanti dall’op- erare attraverso i confini tra discipline e paesi. Così, i progetti dei Borsisti e dei Residenti dell’Accademia, che vivono e operano nell’ambito di questa comu- nità straordinaria, riflettono il ruolo delle arti e degli studi umanistici nella vita contemporanea. È più che mai importante, in questo momento, riconoscere il valore delle idee e, con esso, la rilevanza dell’Acca- As an institution of advanced research, the Academy demia, un’istituzione americana capace di promuo- supports the kind of critical thinking that is nec- vere tali idee su scala internazionale. essary to sustain a civil society. Across all of our L’Accademia e i suoi Borsisti sono sempre più programs and disciplines, the work of scholars and impegnati in progetti in cooperazione con altri sog- artists reveals and reinforces the complexity of getti a Roma, ma anche nell’area del Mediterraneo e history, the diversity of human endeavor, and the oltre, e le nuove collaborazioni, insieme al Fellows’ benefits derived from working across cultures and Project Fund, forniscono ulteriori opportunità di borders. Thus the projects of the Academy Fellows dialogo e contatto internazionali. Al tempo stesso, and Residents who live and work within this unique la nostra corposa serie di eventi Conversations/ community reflect the role of the arts and human- Conversazioni permette che i risultati della ricerca e ities in contemporary life. At this moment, it is more dell’attività creativa di massimo livello raggiungano important than ever that we recognize the value of un pubblico sempre più vasto. ideas—and the significance of the Academy, as a Mentre guardiamo al futuro, manifestiamo il nos- national institution with international impact, in tro apprezzamento per la guida della Direttrice Kim championing them. Bowes, che ci lascia al termine del suo mandato per The Academy and its Fellows are increasingly ritornare alla University of Pennsylvania. Tutti noi engaged in collaborative work throughout Rome, siamo infinitamente grati a Kim per i suoi numerosi the Mediterranean basin, and beyond, and new contributi. È anche con grande piacere che diamo il partnerships, as well as the Fellows’ Project Fund, benvenuto a John Ochsendorf (Borsista del 2008), provide additional opportunities for international che a luglio si unirà a noi come nuovo direttore. dialogue and connections. Meanwhile, our robust Conversations/Conversazioni series brings scholarly and creative work of the highest caliber to ever- broader audiences. As we continue to look forward, we recognize the strong leadership of Director Kim Bowes, who leaves us at the end of her term to return to the University of Pennsylvania. We all greatly appreciate and applaud Kim’s numerous contributions. We are also pleased to welcome John Ochsendorf (2008 Fellow), who joins us as director in July. Mark Robbins, President

2 AAR Magazine i Follow @aarpresident on Instagram for up-to-the-minute images of all that’s happening with AAR.

OPPOSITE AAR President Mark Robbins (left), with writer Andre Aciman (2015 Resident). Photo by Christine Jones.

#davidlang #newmusic #debut #familydinner February 2, 2017 (see p. 23) February 4, 2017

#scharounensemble #villaaurelia #giardini February 4, 2017 February 13, 2016

#lascala #conversations #newterrain February 15, 2017 March 2, 2017 (see p. 23)

Spring 2017 3 FAR AFIELD:

Reconsidering the Classics

Shane Butler (1999 Fellow), who chairs the Department of Classics at Johns Hopkins University, recently edited a new book about the ever-changing influences, uses, and interpretations of antiq- uity: Deep Classics: Rethinking Classical Reception (2016). Shane studies and teaches Latin literature from antiquity through the Renaissance, and his wide-ranging interests encom- pass media history and theory; sensation, cognition, and aesthet- justice, and exile-at-home” than ics; rhetoric and poetics; the his- Fellow wins the Nari has, and “none have come tory of sexuality; and the history up with images more poetic.” of classical scholarship. Vilcek Prize Nari has been named the In reflecting on his experience recipient of the 2017 Vilcek Born in Jamaica and now based as a Fellow, Shane recalls: “In Prize in the arts, an honor and in New York City, artist Nari Ward Rome there’s no escaping the $100,000 award presented annu- (2013 Fellow) describes the sensory texture of life, whether ally to an immigrant who has year he and his family spent at lived now or centuries ago. My made “lasting contributions to the Academy as crucial to his time at the Academy ratified my American society through their understanding of “how you place commitment to become a critic extraordinary achievements” in yourself” and “who you are.” The and historian of lived, embodied a selected discipline in the arts insights he gained continue to experience, and not just of facts and humanities. His art can be impact his work. Nari uses unex- and figures. Years later, that’s seen this spring and summer at pected materials to make striking still what I’m trying to do.” That the ICA Boston in Nari Ward: Sun installations and assemblages commitment is evident not only Splashed, a touring exhibition that spark public conservations in Deep Classics but in Shane’s organized by the Pérez Museum and individual reflections on current projects: “a book on the of Art in Miami. such topics as race, poverty, sounds of the ancient world” that immigration, and identity. ABOVE he is coediting and a monograph According to Holland Cotter of Nari Ward, We the People, 2011. “about the gay Victorian author the New York Times, “few 21st-cen- Shoelaces, 96 x 324 inches. John Addington Symonds, who tury artists have made stron- In collaboration with The Fabric Workshop spent much of his life traveling and Museum, Philadelphia. ger and more textured visual Speed Art Museum, Gift of the Speed through and writing about Italy

statements about racism, failed Contemporary, 2016.1 and its past.” Kong. and Hong Will Brown; Courtesy the artist and Lehmann Maupin, New York photo: Ward Arts of Belgium, Brussels. Ro scan © Royal Museum of Fine / SABAM, Brussels; photo: J. Geleyns - Society (ARS), New York 2017 Artists Rights Delville: ©

4 AAR Magazine A champion for cultural property As the Cultural Resources Manager and Army Archaeologist at Fort Drum, New York, Laurie W. Rush (2011 Fellow) is the steward for nearly 1,000 archaeological sites and serves as a diplomatic liaison to Native American tribes with ties to the Fort Drum region. She also educates troops at Fort Drum about cultural property protection during military oper- ations and shares her expertise nationally and internationally. “The opportunity to live and work in Rome linked me to the international community of col- leagues and military officers who are committed to cultural prop- erty protection during the course Jean Delville, The Death of Orpheus (Orpheé mort), 1893. Oil on canvas, 79.3 x 99.2 cm. of military operations,” she Government of the Brussels-Capital Region, Belgium, on long term loan in the Royal recalls. In addition, while a Fellow Museums of Fine Arts of Belgium. she studied the Carabinieri TPC, the Italian police force dedicated Mystical Symbolism and clearinghouse for ideas from to crimes involving antiquities the symbolist movement,” Vivien and art. Laurie and coauthor to open at notes, “not unlike the way the Luisa Benedettini Millington pub- Academy functions as a cultural lished The Carabinieri Command the Guggenheim crossroads for artists and schol- for the Protection of Cultural ars today.” Property in 2015, and they are This spring, the Guggenheim Vivien’s Rome Prize Fellow- planning another book, which will open a new exhition curated ship supported her research on Laurie describes as a “reference by Vivien M. Greene (2004 Fellow), Italian divisionist painting of for communities facing conflict or Mystical Symbolism: The Salon de the 1890s, the focus of both her disaster” that discusses “methods la Rose+Croix in Paris, 1892–1897. dissertation and Divisionism/ Italians have used to successfully It provides a new perspective Neo-Impressionism: Arcadia and save and protect their heritage for on symbolism by focusing on a Anarchy, a 2007 exhibition she over one hundred years.” series of six significant yet little curated for the Guggenheim. known annual Salons initiated Vivien has been on the cura- by Joséphin Péladan, an author, torial staff at the Guggenheim critic, and Rosicrucian. These Museum since 1993 and is cur- Salons, where spiritual, mys- rently a Senior Curator. Mystical terious, and visionary themes Symbolism is on view in New York and imagery predominated, from June 30 to October 4, 2017, brought together artists from and then travels to the Peggy Belgium, Finland, France, Italy, Guggenheim Collection in Venice. the Netherlands, Spain, and Switzerland. They served as a kind of “cosmopolitan crossroads

Spring 2017 5 5,424 965 2,958 Inside thedeliberationandselectionprocess NUMERALS ROMAN 6VI recordings andscoresreviewed bymusicjurors 429 preservation andconservation design, landscapearchitecture,andhistoric portfolio pagesreviewedbyjurorsinarchitecture, 5,560 images viewedbyvisualartsjurors pages oftextreviewedbyhumanitiesjurors applications : AAR Magazine

3.2% 69.7% acceptance rate The France, andJamaica) foreign-born (Armenia,Bulgaria,Canada, 18.2% women 2017 RomePrizewinnersataglance

Archangel Michael: hoto by Pentcheva, © Procuratoria della Basilica di San Marco, Venice. INTRODUCING:

Sanford Biggers: The 2017–2018 BAM (for Michael), 2016, bronze, Rome Prize winners 19 x 5 x 5 inches. and Italian Fellows

Meet the American Academy in Rome’s newest group of scholars, artists, writers, and composers, representing some of the most talented minds in the United States and Italy.

FOUR FELLOWS IN THE SPOTLIGHT Ashley Fure: Harold M. English Rome Prize An early prototype SANFORD BIGGERS of Tripwire, an immersive instal- Sanford, a native of Los Angeles currently living lation created in New York City, creates artworks that address with Jean-Michel challenging and far-ranging topics and offer new Albert in 2012. perspectives on established symbols.

Samuel Barber Rome Prize ASHLEY FURE Ashley is an assistant professor in the Department of Music at Dartmouth College. In recent years, her Bissera V. work has shifted regularly between immersive instal- Pentcheva: Icon of the Arch- lations and concert music. Her project, Da Vinci angel Michael, Shaken, will attempt to bridge these two approaches. late tenth century (detail of the head Millicent Mercer Johnsen Post-Doctoral Rome Prize illuminated by BISSERA V. PENTCHEVA candle). Born in Sofia, Bulgaria, Bissera is an associate pro- fessor of art history at Stanford University. She will employ digital technology and textual research to Emilio Rosamilia: study the phenomenon of animation in medieval art The ancient Greek across Byzantine, European, and Islamic traditions. city of Cyrene.

Italian Fellow in Ancient Studies EMILIO ROSAMILIA Emilio is preparing a monograph for publication about the often overlooked ancient Greek city of Cyrene (currently Shahat, Libya) during the classical and Hellenistic periods, before its annexation by the Romans. Archangel Michael: hoto by Pentcheva, © Procuratoria della Basilica di San Marco, Venice.

Spring 2017 7 ANCIENT STUDIES ARCHITECTURE LANDSCAPE ARCHITECTURE

Dorothy and Lewis B. Cullman/ Founders Rome Prize Garden Club of America Rome Prize National Endowment for the Humanities BRANDON CLIFFORD ROSETTA S. ELKIN Post-Doctoral Rome Prize Assistant Professor, School of Architecture Assistant Professor, Graduate School of MICHELLE L. BERENFELD and Planning, Massachusetts Institute Design, Harvard University; Associate, John A. McCarthy Associate Professor, of Technology Arnold Arboretum Classics, Pitzer College Ghosts of Rome Shorelines: The Case of Italian Stone Pine At Home in the City: The Neighborhoods of the Urban Elite in the Late Roman Empire Arnold W. Brunner/Katherine Edwards Prince Charitable Trusts/Rolland Rome Prize Gordon Rome Prize ALISON B. HIRSCH AND AROUSSIAK GABRIELAN Emeline Hill Richardson Pre-Doctoral KEITH KRUMWIEDE Co-founders, foreground design agency, Los Rome Prize Visiting Associate Professor, Department Angeles, California; Hirsch: Assistant Professor CATHERINE E. BONESHO of Architecture, Massachusetts Institute of Landscape Architecture + Urbanism, Ph.D. Candidate, Department of Classical of Technology; Associate Professor, School of Architecture, University of Southern and Ancient Near Eastern Studies, College of Architecture and Design, New California; Gabrielian: Ph.D. Candidate in University of Wisconsin–Madison Jersey Institute of Technology Media Arts + Practice, School of Cinematic Foreign Holidays and Festivals as A Pattern Book of Houses for a World Arts, University of Southern California Representative of Identity in Rabbinic After the End of Work Rome Real-and-Imagined: Cinematic Fictions Literature and Future Landscapes DESIGN Andrew W. Mellon Foundation/Samuel H. LITERATURE Kress Foundation Pre-Doctoral Rome Prize* Mark Hampton Rome Prize LIANA BRENT JENNIFER BIRKELAND AND Joseph Brodsky Rome Prize, Ph.D. Candidate, Department of Classics, JONATHAN A. SCELSA a gift of the Drue Heinz Trust Cornell University Partners, op.AL ISHION HUTCHINSON Corporeal Connections: Tomb Disturbance, The Roman Roof-Scape—The Atrium as Professor, Department of English, Reuse, and Violation in Roman Italy Landscape–Urban Infrastructure Cornell University School by the Cliff Andrew Heiskell Post-Doctoral Rome Prize Cynthia Hazen Polsky and Leon Polsky LAUREN DONOVAN GINSBERG Rome Prize John Guare Writer’s Fund Rome Prize, Assistant Professor, Department of Classics, TRICIA TREACY a gift of Dorothy and Lewis B. Cullman University of Cincinnati Assistant Professor, Graphic Design, T. GERONIMO JOHNSON They Will Sing of You and Me: Lucan as Department of Art, Appalachian University Chair in Creative Writing, Caesar’s Epic Successor State University Department of English, Texas State modes + methods of dialog + collaboration University at San Marcos Arthur Ross Pre-Doctoral Rome Prize Pilot of the Great Machine KEVIN E. MOCH HISTORIC PRESERVATION AND CONSERVATION Ph.D. Candidate, Department of Classics, MEDIEVAL STUDIES University of California, Berkeley Charles K. Williams II Rome Prize Quoium Pecus? Representations of Italian LISA DELEONARDIS Donald and Maria Cox/Samuel H. Kress Identity in Vergil’s Eclogues, Georgics, Austen-Stokes Professor, Department of Foundation Pre-Doctoral Rome Prize* and Aeneid the History of Art, John Hopkins University ANNA MAJESKI A Transatlantic Response to Worlds Ph.D. Candidate, Institute of Fine Arts, Irene Rosenzweig/Lily Auchincloss/ That Shake: Jesuit Contributions to Anti- New York University Samuel H. Kress Foundation Pre-Doctoral Seismic Building Design in Early Modern Visualizing the Cosmos from Fourteenth- Rome Prize** Italy and Peru Century Padua: From Francesco da Barberino SOPHIE CRAWFORD WATERS to Giusto de’Menabuoi Ph.D. Candidate, Graduate Group in the Booth Family Rome Prize Art and Archaeology of the Mediterranean LIZ ŠEVCˇENKO Millicent Mercer Johnsen Post-Doctoral World, University of Pennsylvania Director, Humanities Action Lab, The New Rome Prize Daedala Tecta: Architectural Terracottas and School + Rutgers University–Newark BISSERA V. PENTCHEVA Cultural Memory in Republican Italy Confronting Denial: Preservation for a Professor, Department of Art History, Post-Truth Era Stanford University Animation in Medieval Art

Phyllis W.G. Gordan/Lily Auchincloss/Samuel H. Kress Foundation Pre-Doctoral Rome Prize** JOSEPH WILLIAMS Ph.D. Candidate, Department of Art, Art History, and Visual Studies, Duke University The Practice and Production of Architecture during the Mediterranean Commercial Revolution: The Church of S. Corrado in Moletta 8 AAR Magazine (ca. 1185–1303) MODERN ITALIAN STUDIES VISUAL ARTS 2017–2018 ITALIAN FELLOWS

Andrew W. Mellon Foundation/ Harold M. English Rome Prize Franco Zeffirelli Italian Fellow in National Endowment for the Humanities SANFORD BIGGERS Renaissance and Early Modern Studies Post-Doctoral Rome Prize Artist VERONICA COPELLO LESLIE COZZI Spolia Scholar, Université de Fribourg Curatorial Associate, Hammer Museum Toward a New Edition of Vittoria Colonna’s Fra: Relation and Collaboration in Chuck Close/Henry W. and Marian T. Correspondence Contemporary Italian Art Mitchell Rome Prize ABIGAIL DEVILLE Fondazione Sviluppo e Crescita Paul Mellon/Andrew W. Mellon Foundation Artist CRT Italian Fellow in Visual Arts Post-Doctoral Rome Prize New Monuments to Forget the Future RÄ DI MARTINO DIANA GARVIN Artist Assistant Professor, Department of Jules Guerin Rome Prize The Eye, the Ear and the Mouth Romance Languages, University of Oregon ROCHELLE FEINSTEIN Black Milk: Colonial Foodways and Intimate Artist Cy Twombly Italian Fellow in Visual Arts Imperialism Professor, Department of Painting and ALESSANDRO DI PIETRO Printmaking, School of Art, Yale University Artist Marian and Andrew Heiskell Pre-Doctoral Color Therapy (working title) Natives Nameless and Ruins Rome Prize JESSICA GABRIEL PERITZ Abigail Cohen Rome Prize Marcello Lotti Italian Fellow in Music Ph.D. Candidate, Department of Music, ALLEN FRAME FEDERICO GARDELLA University of Chicago Photographer Composer The Lyric Mode of Voice: Song and Adjunct Professor, Department of Concert for Mandolin and Strings Subjectivity in Italy, 1769–1815 Fine Arts, Pratt Institute Portraits in Roman Gardens Enel Italian Fellow in Architecture, Urban MUSICAL COMPOSITION Design, and Landscape Architecture Joseph H. Hazen Rome Prize FOSCO LUCARELLI Frederic A. Juilliard/Walter Damrosch BEVERLY MCIVER Architect Rome Prize Artist Horizontal Rome SUZANNE FARRIN Esbenshade Professor of the Practice, The Frayda B. Lindemann Professor Department Art, Art History and Visual Italian Fellow in Ancient Studies of Music, Hunter College and the CUNY Arts, Duke University EMILIO ROSAMILIA Graduate Center Impact of Place Scholar, Scuola Normale Superiore, Pisa The Hour of The Star Cyrene: Political, Sacred, and Economic History Samuel Barber Rome Prize ASHLEY FURE Assistant Professor, Department of Music, ROME PRIZE JURORS Dartmouth College Da Vinci Shaken ANCIENT STUDIES

RENAISSANCE AND EARLY MODERN STUDIES SUSAN E. ALCOCK (Jury Chair) Professor, Department of Classical Studies, Anthony M. Clark Pre-Doctoral Rome Prize University of Michigan RAYMOND CARLSON Ph.D. Candidate, Department of Art History ANN OLGA KOLOSKI-OSTROW and Archaeology, Columbia University Kevy and Hortense Kaiserman Endowed Michelangelo between Florence and Rome: Chair in the Humanities, Professor and Art and Literary Culture in Sixteenth- Chair, Department of Classical Studies Century Italy Brandeis University

American Academy in Rome—Rome Prize ALISON M. KEITH CÉCILE FROMONT Professor and Acting Chair, Department of Assistant Professor, Department of Art Classics, University of Toronto History, University of Chicago Images on a Mission: Cross-Cultural CARLOS F. NOREÑA, FAAR’01 Encounters and Visual Mediation in Early Associate Professor, Department of History, Modern Kongo and Angola University of California, Berkeley

* year one of a two-year fellowship ** year two of a two-year fellowship

Spring 2017 9 DESIGN BRUCE SMITH, RAAR’16 ERIN GEE, FAAR’08 Poet; Professsor, English, Assistant Professor of Composition-Theory, THOM MAYNE (Jury Chair) Syracuse University School of Music, University of Illinois, Founder and Design Director, Morphosis Urbana-Champaign MEDIEVAL STUDIES DAVID FLETCHER ANDREW NORMAN, FAAR’07 Principal, Fletcher Studio JAMES GRIER (Jury Chair) Assistant Professor, Thornton School of Professor of Music History, University Music, University of Southern California GEORGINA HULJICH of Western Ontario Principal, P-A-T-T-E-R-N-S KURT ROHDE, FAAR’09 MARTIN EISNER, FAAR’14 Jan and Beta Popper Professor of Music, MERT KIZILAY Associate Professor, Department of University of California, Davis Independent Designer/Director/Artist Romance Studies, Duke University RENAISSANCE AND EARLY MODERN STUDIES WILLEM HENRI LUCAS HOLLY FLORA, FAAR’11 Designer/Professor, Design Media Arts, Associate Professor, History of Art, STEVEN F. OSTROW, FAAR’02 (Jury Chair) University of California, Los Angeles Tulane University Professor, Department of Art History, University of Minnesota LISA SWITKIN, FAAR’08 WILLIAM CHESTER JORDAN Senior Principal, James Corner Dayton-Stockton Professor of History, TIM CARTER Field Operations Princeton University David G. Frey Distinguished Professor of Music, Department of Music, University of TOM WISCOMBE HERBERT KESSLER, FAAR’85 North Carolina at Chapel Hill Principal, Tom Wiscombe Architecture; Professor Emeritus, Department of the Chair, B.Arch Program, SCI-Arc History of Art, Johns Hopkins University MASSIMO CIAVOLELLA Professor, Italian and Comparative HISTORIC PRESERVATION AND CONSERVATION MODERN ITALIAN STUDIES Literature; Director of the UCLA Center for Medieval and Renaissance Studies, RANDALL MASON, FAAR’13 (Jury Chair) PAOLA BONIFAZIO, FAAR’12 (Jury Chair) University of California, Los Angeles Associate Professor and Chair, Associate Professor, Department of French Historic Preservation, School of Design; and Italian, The University of Texas, Austin WILLIAM EAMON Executive Director, PennPraxis; Regents Professor, Emeritus, Department of University of Pennsylvania LAURA BENEDETTI History, New Mexico State University Laura and Gaetano De Sole Professor CAROL STRINGARI in Contemporary Italian Culture, MARGARET MESERVE, FAAR’07 Deputy Director and Chief Conservator, Georgetown University Associate Professor, Department of History, Guggenheim Museum Fabiano College Chair in Italian Studies; MARY GIBSON, FAAR’03, RAAR’10 Associate Dean for the Humanities and INES WEIZMAN Professor, CUNY Graduate Center Faculty Affairs, College of Arts & Letters, Professor, Architectural Theory; John Jay College of Criminal Justice University of Notre Dame Director, Bauhaus-Institute for History and Theory of Architecture and Planning, GERALD SILK, FAAR’82 VISUAL ARTS Bauhaus-Universität Weimar Professor, Modern and Contemporary Art, Tyler School of Art, Temple University HOLLY BLOCK (Jury Chair) LITERATURE Executive Director, The Bronx Museum LUCIA RE of the Arts FRANCINE PROSE, RAAR’06 (Jury Chair) Professor, Italian and Gender Studies, Writer; Distinguished Visiting Writer, Department of Italian, University of POLLY APFELBAUM, FAAR’13 Bard College California, Los Angeles Artist

EDWARD HIRSCH, FAAR’89 MUSICAL COMPOSITION JOSEPHINE MECKSEPER Poet; President, John Simon Guggenheim Artist Memorial Foundation MARTIN BRODY, RAAR’02 (Jury Chair) Catherine Mills Davis Professor of Music, LORNA SIMPSON SAMANTHA HUNT Wellesley College Artist Writer; Professor, Humanities & Media Studies, Pratt Institute CHEN YI, DMA Lorena Searcy Cravens/Millsap/Missouri PETER ORNER, FAAR’03 Endowed Distinguished Professor Writer; Professor and Chair, Department of Composition, University of Missouri– of Creative Writing, San Francisco Kansas City Conservatory of Music State University and Dance Cohen: Guillaume Gaudet; Reed: © Adam DeTour; McCormick: Stephanie Mitchell; Lang: Axel Dupeaux; Johnston Marklee: Eric Staudenmaier. McCormick: Stephanie Mitchell; Lang: Axel Dupeaux; Johnston Marklee: Eric Gaudet; Reed: © Adam DeTour; Cohen: Guillaume

10 AAR Magazine IN RESIDENCE:

Each year, distinguished artists and scholars from around the world are invited to the Academy as Residents. During their stay, Residents live and work as part of the community, serving informally as a resource for the Fellows and participating in special Academy- wide events—concerts, exhibitions, lectures, readings, and instructional walks in Rome. Meet some of our Residents for this spring/summer.

p. 12 p. 13 p. 14 p. 15 Jean-Louis Cohen Susan Meiselas Chris Reed Richard Gluckman

p. 16 p. 17 p. 18 p. 19 Jason Moran Michael McCormick Ann Hamilton Charles Ray

i Check aarome.org/events for information on upcoming events with the Residents.

p. 20 p. 21 David Lang Sharon Johnston and Mark Lee Cohen: Guillaume Gaudet; Reed: © Adam DeTour; McCormick: Stephanie Mitchell; Lang: Axel Dupeaux; Johnston Marklee: Eric Staudenmaier. McCormick: Stephanie Mitchell; Lang: Axel Dupeaux; Johnston Marklee: Eric Gaudet; Reed: © Adam DeTour; Cohen: Guillaume

Spring 2017 11 Jean-Louis Cohen Louis Kahn Scholar in Residence 30 January–27 February

All that Jean-Louis Cohen does is informed by his double iden- tity as an architect and historian. His research focuses on the way architecture is influenced by broader socio-political contexts, urban development, and cul- tural exchanges. His 2011 book, Architecture in Uniform: Designing and Building for WWII, upends the conventional belief that World War II was a static period for architecture, instead proposing that it precipitated the modern- ist movement. His recent lecture (in collaboration with the British Images related to Jean-Louis’s School at Rome), Memory Erased/ current projects. Regained: Marseilles At War, expanded on this idea, drawing on ABOVE new research to show how these Frank Gehry, ideas hold true for Marseilles The Hillcrest Apartment, 1962, during and after the Vichy regime. Santa Monica, CA. Reflecting on his time at the Academy, Jean-Louis noted, “The short month I have spent within its walls has been extremely produc- tive…I have left with 40,000 words of writing.” Jean-Louis has authored numerous books on Le Corbusier, ABOVE Charles Eames, including Le Corbusier: An Atlas of study for the Modern Landscapes (2013), which Glimpses of the accompanied a major exhibition at USA multi-screen the Museum of Modern Art in New show in Moscow, 1959. York, as well as Mies van der Rohe (2007) and Casablanca, Colonial RIGHT Myths and Architectural Ventures Jean-Louis’s (2002), among many others. He is snapshot of Matera, where the Sheldon H. Solow Professor in he visited during History of Architecture at New York his residency. University Institute of Fine Arts. Hillcrest apartment and Matera: photos by Jean-Louis Cohen; Danziger: Gehry Partners, Los Angeles; Eames: Library of Congress. Partners, Los Angeles; Cohen; Danziger: Gehry photos by Jean-Louis Hillcrest apartment and Matera:

12 AAR Magazine Pebbles, JoJo and Roe on Baxter Street, 1978.

Susan Meiselas have grown and the neighbor- ized people, and she first gained Henry Wolf Graphic Designer in hood has become a chic, wealthy attention for her documentation Residence, 10 April–29 May enclave. In addition to searching of the insurrection in Nicaragua for “Prince Street Girl” Pebbles, in 1978 and human rights issues In 1975, biking through New York’s who now lives in Italy, Susan in Latin America. These projects Little Italy, photographer Susan plans to use her time in Rome to led to the publication of her 1981 Meiselas came across a group of expand on her project akaKurd- monograph Nicaragua, her work young girls who, inadvertently istan, a website for aggregating as an editor and contributor to at first, and more intentionally images and building a collective El Salvador: The Work of Thirty later, became her subject matter, memory for the Kurdish people. Photographers, and her codirec- culminating in the photographic The site grew out of her six- tion of the films Living at Risk: The series Prince Street Girls. Susan’s year project curating a hun- Story of a Nicaraguan Family and lecture at AAR, Prince Street Girls dred-year photographic history Pictures from a Revolution. Revisited, will reconsider this of Kurdistan. Susan has a long

Hillcrest apartment and Matera: photos by Jean-Louis Cohen; Danziger: Gehry Partners, Los Angeles; Eames: Library of Congress. Partners, Los Angeles; Cohen; Danziger: Gehry photos by Jean-Louis Hillcrest apartment and Matera: body of work, now that the girls history of working with marginal-

Spring 2017 13 Chris Reed School of Design. He is interested enable us to address some of in an interdisciplinary approach the bigger challenges acted out Mercedes T. Bass Landscape Architect to landscape architecture, taking on the world stage.” His current in Residence, 3 April–1 May into account the many factors— research looks at the impact of ecological, political, economic, ecology on design and the way A leader in the field of landscape and social—that impact the landscape systems can inform design and urbanism, Chris Reed development of a city or place. city-planning strategies, partic- has re-envisioned downtown “For landscape architecture to be ularly with regards to addressing areas and waterfronts in major relevant as a discipline, it needs issues of climate change, social cities, including Dallas, Detroit, to do more than just check the and economic inequality, and Shanghai, and Green Bay. Chris sustainability boxes,” he said in increasing cultural diversity. is the founder and director of an interview with the American Chris is the coeditor of Projective the landscape architecture firm Society of Landscape Architects. Ecologies, a volume of research Stoss, which specializes in urban “It needs to set out a broader set and drawing. design and landscape revitaliza- of cultural, social, and environ- tion, and codirector of the Master mental ambitions that allow of Landscape Architecture in the discipline to evolve with Urban Design Degree Program at an evolving world. Design can Harvard University’s Graduate

ABOVE LEFT ABOVE RIGHT The Plaza Erie Street Plaza, at Harvard, Milwaukee, WI. Cambridge, MA.

LEFT Green Bay CityDeck, WI.

14 AAR Magazine ABOVE ABOVE RIGHT Chinese Rotunda, Approach to Global Penn Museum, Contemporary Art Philadelphia, PA. Museum, North Adams, MA.

RIGHT De Maria Pavilion, Bridgehampton, NY.

Richard Gluckman minimalist artists of the late tion of the Whitney Museum of William A Bernoudy Architect in 1960s and 1970s and installed two American Art (1995–1998), and Residence, 13 March–8 May site-specific works by Dan Flavin,” The Andy Warhol Museum (1994). Richard told the Modelo blog. “I’m going to look at a couple Richard Gluckman, a principal at “Their art had a profound impact of things [during my residency] Gluckman Tang Architects, has on my thinking as an architect.” that have relevance to our dedicated his career to designing At AAR, he will present Space current work: interventions into buildings for artists, public arts Framed, discussing his firm’s early- to mid-century Italian institutions, art foundations, work with historic renovations industrial architecture and galleries, and art collectors, and interventions, from his modes of display of ancient often collaborating with artists first project for the Dia Art artifacts in historic buildings,” and dealers. His first project was Foundation to his current work Richard notes. “And I’m the renovation of a townhouse on the University of Pennsylvania going to get lost and see where for Dia Art Foundation founders Museum of Archeology and that leads.” Heiner Friedrich and Philippa Anthropology. His other major DeMenil, an experience that was projects include the Museo foundational to his career. “I Picasso Malaga (2004), Mori was introduced to the work of Arts Center (2003), the renova-

Spring 2017 15 Jason Moran Elliott Carter Memorial Residency in Composition, 5 June–28 July

“Shaping up to be the most provocative thinker in current jazz,” according to Rolling Stone, Jason Moran is a composer, musician, artist, and the artistic director for jazz at The Kennedy Center. In addition to releasing critically acclaimed recordings, including his debut Soundtrack to Human Motion and his solo piano disc Modernistic, Jason is inter- ested in exploring the physical spaces where jazz is played, and their role in the lore of a city. His lecture at AAR will include a discussion of his exhibition for the 2015 Venice Biennale, STAGED, which recreated archi- tectural elements and spaces in historic New York jazz venues, including the Savoy Ballroom and the Three Deuces. With this exhibition Jason says he was looking at “how time challenges a relationship between music and its audience, how architec- ture challenges that as well.” His work looks at the link between art, music, and social history to unearth the complex heritage of York. Luhring Augustine, New © Jason Moran; Courtesy of the artist and jazz and show how it has been used as a tool for both oppres- ABOVE BELOW Jason Moran Jason Moran sion and healing. STAGED: Three STAGED: Savoy Jason received a MacArthur Deuces, 2015 Ballroom 1, 2015 Fellowship in 2010 and recently Mixed media, sound Mixed media, sound launched his own recording label, 96 x 120 x 156 120 x 216 x 120 inches inches Yes Records, and LOOP magazine. His first solo museum exhibi- tion will open at the Walker Art Center, Minneapolis, in 2018.

16 AAR Magazine Images from McCormick’s lecture at AAR, The Fall of the Roman Empire: How Should We Study It in the 21st Century?

Michael McCormick Past, which brings together Origins of the European Economy: Lester K. Little Scholar in Residence, geneticists, archaeological scien- Communications and Commerce, 10 April–8 May tists, climatologists, environmen- A.D. 300–900 and his most recent tal, computer and information book Charlemagne’s Survey of Working with scientists, climate scientists, humanists, and social the Holy Land: Wealth, Personnel, change experts, and archae- scientists to explore human his- and Buildings of a Mediterranean

© Jason Moran; Courtesy of the artist and Luhring Augustine, New York. Luhring Augustine, New © Jason Moran; Courtesy of the artist and ologists, historian Michael tory. His lecture at AAR, The Fall Church between Antiquity and the McCormick is constructing the of the Roman Empire: How Should Middle Ages. most detailed historical record to We Study It in the 21st Century?, date on European climate, offer- will draw on this interdisciplinary ing unprecedented insight into approach to reevaluate the fall of the impact climate shifts had on Rome. Using advanced scientific ancient civilizations. Michael has techniques and digital practices, a long-standing interest in the Michael has unearthed new find- many factors that influenced ings, including archaeological human evolution. He now chairs evidence of a mass death. Harvard’s university-wide Initia- Michael’s many publications tive for the Science of the Human include his award-winning book

Spring 2017 17 Ann Hamilton Roy Lichtenstein Artist in Residence, May–July, 2017

Responding to the architecture and history of specific places, Ann Hamilton creates immer- sive, sensory installations to explore the power of communal exchanges and the representa- tion of individuals and commu- nities. At the Academy, Ann will ABOVE discuss several recent works that habitus, 2016, elucidate fundamental aspects Installation at of her practice, with a special Municipal Pier 9. focus on her text concordances. Language and text are central to Ann’s work, represented as

tools that fuel our memory and Matthew Marks Gallery Courtesy of the Art Institute of Chigao; right: Photograph by Charles Ray; Both © Ray Left: Photography by imagination. With habitus, which reflects on the rich history of tex- tiles—another focal point for the artist—visitors were invited to interact with large, circular pan- els of white fabric draped from the ceiling. They were accompa- nied by a collection of writing that explores the social and material vocabulary of textiles. With ONEEVERYONE, a public art project installed at the Dell Medical School at the University of Texas, Austin, she investigates the relationship between photog- rapher, camera, and subject. The LEFT ABOVE project documents 21,000 people ONEEVERYONE, ONEEVERYONE, who have received or given SAC Day Sanchez, 26¼ × 29 26¼ × 29 care. Ann is the Distinguished inches. inches. University Professor in the Department of Art at The Ohio BELOW State University. ONEEVERYONE, Huston Tilotson, 26¼ × 29¾ inches.

18 AAR Magazine LEFT ABOVE

Left: Photography by the Art Institute of Chigao; right: Photograph by Charles Ray; Both © Charles Ray Courtesy of Matthew Marks Gallery Courtesy of the Art Institute of Chigao; right: Photograph by Charles Ray; Both © Ray Left: Photography by Charles Ray, Horse Charles Ray, Boy and rider, 2014. with frog, 2009. Solid stainless steel, Painted steel, 96 x 109 ½ x 40 x 105 7/8 29 ½ x 41 ¼ inches. inches.

Charles Ray exhausted looking horse, rather Kunst in Oslo, and the Whitney Deenie Yudell Artist in Residence, than the more traditional buck- Museum of American Art in New May 2017 ing stallion—while also offering York, among others. His resi- complex observations. dency coincides with an exhibi- Fascinated by the quotidian, “I’m really interested in what tion of his work at AAR—and the Charles Ray has become best happens to a work as it tumbles world premiere of a new sculp- known for his sculptural works through time and meaning is ture (see p. 48). that alter or upend everyday washed away,” he told The New objects and scenes. Often creat- Yorker. His work melds the beau- ing larger-than-life but otherwise tiful with the unsettling, pre- realistic depictions of people senting viewers with immediate and things, Charles alters the and striking works that insist on way viewers perceive the familiar. challenging both their percep- His work playfully evaluates and tion and understanding. critiques the history of sculp- Ray has been the subject ture—as with Horse and Rider, of major exhibitions at the Art a nine-foot tall sculpture that Institute of Chicago, Astrup depicts the artist seated on an Fearnley Museet for Moderne

Spring 2017 19 Menil: courtesy of Johnston Marklee; Vault and Hill Houses: photo by Eric Staudenmaier. and Hill Marklee; Vault Menil: courtesy of Johnston

LEFT ABOVE Performance views The so Percussion of Anonymous 4 Group perform- in love fail, 2012, ing David Lang’s International So-Called Laws of Festival of Arts Nature, PASIC 2011 and Ideas, Yale Repertory Theater, New Haven, CT.

David Lang ematic narratives—an idea that film work includes the score to Paul Fromm Composer in Residence, has been of interest to him from Jonathan Parker’s (Untitled), the 6 March–3 April a young age. “Much of this music, music for the The Woodmans, when played in a concert hall, and the string arrangements for One of America’s most per- could push mainstream classical Requiem for a Dream. He won a formed composers, David Lang is audiences away, but in a movie Pulitzer Prize for The Little Match a virtuoso who brings together a theater the audience accepted it,” Girl Passion, and his scores have passion for invention with a deep he told Slate. “A big part of what been nominated for an Academy understanding of the classical makes music work is the context Award and a Golden Globe. tradition. He has a long relation- you put it in, the other senses and ship with AAR; he is a 1991 Fellow disciplines it collaborates with. I and currently serves as a Trustee. have been trying to put my music For his lecture Soundtracks in the proper context ever since.” this March, presented with David won Best Score and Nicola Piovani (see p. 23), David Best Original Soundtrack at the discussed his compositions for 2016 David di Donatello Awards film and the tremendous impact for his soundtrack to Paolo contemporary music has on cin- Sorrentino’s Youth. His other

20 AAR Magazine Sharon Johnston & Mark Lee William A. Bernoudy Architect in Residence, 19 June–28 July

Mark Lee and Sharon Johnston are the founding partners of the Los Angeles- based architecture firm Johnston Marklee. A firm with a global reach, they have completed projects in the United States, Europe, and South America, including cultural centers and galleries, master planning, com- mercial spaces, private residences,

Menil: courtesy of Johnston Marklee; Vault and Hill Houses: photo by Eric Staudenmaier. and Hill Marklee; Vault Menil: courtesy of Johnston pavilions, and installation design. An alternative to Los Angeles’s history of extravagant architecture, their style was described in W Magazine as, “thoughtful, deliberate, and intent on solving architectural riddles in an elegant and comfortable way.” They are currently working on the Drawing Institute at the Menil Collection in Houston—one of their most significant commissions to TOP ABOVE date—a renovation of the Museum of Vault House, Menil Drawing Contemporary Art Chicago, and the Oxnard, CA, 2013 Institute, Houston, TX, 2014. new UCLA Graduate Art Studios cam- pus in Culver City, California. They are also the artistic directors for the 2017 Chicago Architecture Biennial.

RIGHT In Los Angeles, Sharon and Mark Hill House, Pacific will participate in the conversation Palisades, CA, Liquid Architecture with Los Angeles 2004. Times architecture critic and 2016 Resident Christopher Hawthorne, as well as composer and 2007 Fellow Andrew Norman (see p. 23). In 2016 Birkhauser published the book House Is a House Is a House Is a House Is a House on the firm’s work, and in 2014 2G published a monograph on Johnston Marklee.

Spring 2017 21 the early Casa Rusticain F 22 studio at Lukas Foss inhis ROM THE ARCHIVES: THE ROM 1950 AAR ’s ’s s. AAR Magazine Brendel Foss. “We eloped,” met his wife, the painter Cornelia admirers. Copland, who were alsohisgreat Leonard Bernstein and Aaron American composition, alongside one of the mostoriginal voices in immigrant, hebecame known as the United States. Although an first to Paris andthen, in1937, to Lukas1922, andhisfamily fled able career. inBerlin Born in he was justbeginning aremark arrived at AAR inthe early 1950s, When composer Lukas Foss Foss Lukas During hisfellowship, Foss - Manhattan in2009. in 1978 asaresident. Hedied in returned to the Academy again Milwaukee Symphony. Healso Jerusalem Symphony, andthe the Brooklyn Philharmonic,the for the Buffalo Philharmonic, as music director or conductor at UCLA. He went onto serve as the headof the composition Schoenbergsucceeded Arnold at the Campidoglio.” Yorker. “We hadasecret wedding Cornelia oncetold TheNew Shortly after hisreturn, Foss

New Terrain: Weiss Manfredi’s Olympic Sculpture Park; Lang: © Serling, 2016; Piovani: Luca Ricci di Regno; Archaeology: Çatalhöyük; Fernandez: Noboru Morikawa; Liquid Architecture: Johnston Marklee, View House, Argentina, 2009, photo by Leonardo Finotti. CONVERSATIONS/CONVERSAZIONI:

This spring, the American Academy in Rome is once again convening What defines thought leaders to consider the ideas, texts, songs, and images that define the idea of “America.” The events compose the newest America? season of Conversations/Conversazioni, which gathers scholars and artists for frank, wide-ranging discussions on a variety of topics in the arts and humanities. The season kicked off in the fall with artist Ping Chong (2017 Resident), designers Michael Bierut (2016 Resident) and Michael Rock (2000 Fellow and AAR Trustee), novelist Colm Tóibín, and scholar Daniel Mendelsohn (2010 Affiliated Fellow, 2017 Resident), among others. “We’re thrilled to con- tinue the series this spring,” said Mark Robbins, AAR President (and 1997 Fellow). “At this moment, discussions with such visionary researchers and practitioners are all the more important.”

The Helen Frankenthaler Foundation is the 2016–2017 season sponsor.

NEW TERRAIN ARCHAEOLOGY TODAY LIQUID ARCHITECTURE Julia Czerniak, Mary Margaret Ian Hodder & Andrea Carandini Christopher Hawthorne, Mark Lee & Jones, Michael Manfredi & Gregg 28 March in Rome Sharon Johnston & Andrew Norman Pasquarelli What’s the role of the past in a changing 2 May in Los Angeles 2 March in New York world? Ian Hodder (2017 Director’s Guest) What’s the influence of music on archi- What can be done to transform our inher- and Andrea Carandini considered archae- tecture, and of architecture on music? A ited landscapes? In collaboration with the ology in theory and practice, heritage critic, a composer, and two architects sit Enel Foundation some of the world’s leading and politics. down to talk. practitioners of architecture, landscape architecture, and urban design shared projects and insights.

SOUNDTRACKS STAGED David Lang & Nicola Piovani Jason Moran 14 March in Rome ARTHUR & JANET C. ROSS ROME PRIZE 21 June in Rome CEREMONY: SMALL AMERICAN FIRES How does music affect cinematic narra- Teresita Fernandez & Mark Robbins What can space tell us about the complex tives? Pulitizer-Prize winning composer heritage of jazz? Composer Jason Moran 20 April in New York City David Lang (2017 Resident, 1991 Fellow) (2017 Resident) shares his thoughts. discussed composing for film with Nicola How does Teresita Fernandez (2018 Piovani, one of Italy’s best-known com- Resident, 1999 Affiliated Fellow) address posers of film scores. site specificity, history, and materiality? New Terrain: Weiss Manfredi’s Olympic Sculpture Park; Lang: © Serling, 2016; Piovani: Luca Ricci di Regno; Archaeology: Çatalhöyük; Fernandez: Noboru Morikawa; Morikawa; Luca Ricci di Regno; Archaeology: Çatalhöyük; Fernandez: Noboru Park; Lang: © Serling, 2016; Piovani: Olympic Sculpture Manfredi’s Weiss New Terrain: Finotti. by Leonardo Johnston Marklee, View House, Argentina, 2009, photo Liquid Architecture:

Spring 2017 23 Here are examples of the work being generated by our Rome Prize and Italian Fellows. The ongoing dialogues and collaboration taking place at the Academy speak to a vibrant com- munity, a cultural crossroads, shaping

how we see ourselves and the past, 27, 37, and 38. photos by altrospazio except pages All present, and future.

E. V. Day, who makes sculptures and installations that memorialize moments of explosion, velocity, and spectacle, has recently become fascinated by baroque sculptor and architect Gian Lorenzo Bernini. Studying and experiencing the way he constructed seductive spaces and evoked motion and extreme emotion, she is finding inspiration for her own next series of large-scale works. E. V. is based in New York City. HARD AT WORK All photos by altrospazio except pages 27, 37, and 38. 25 26 AAR Magazine left Composer Jonathan Berger explores how and why humans engage with music and expresses the fragility and ephemerality of life through an awareness of the interplay of sound and space. His Rime Sparse for soprano and piano trio, with select texts from Petrarch’s Il Canzoniere, recently premiered at the Chamber Music Society of Lincoln Center. Jonathan is the Denning Family Provostial Professor in the Department of Music at Stanford University in California. right Jessica Marglin, an assistant pro- fessor in the School of Religion at the University of Southern California, investigates how disputes over the estate of Nissim Shamama, a Tunisian Jew who died in Italy in 1873, can pro- vide fresh insights into nine- teenth-century Italy and its place in the modern Mediterranean. The case revolved around determining Shamama’s nation- ality and touches on Italian, Jewish, Islamic, and European approaches to international law.

27 28 AAR Magazine left above Architect Yasmin Vobis seeks to Historian Robert Clines is studying elevate the role and discourse of the life and experiences of color as a fundamental aspect Giovanni Battista Eliano, the of contemporary architectural only Jewish-born member of practice and production, dis- the Society of Jesus, in order to puting Giorgio Vasari’s theory uncover the complex culture relating “colore” to irrationality of conversion in the early and lack of discipline. Yasmin is modern Mediterranean. Robert a principal of Ultramoderne, an is an assistant professor in architectural design studio in the Department of History at Providence, Rhode Island, and Western Carolina University, a critic in the Department of in Cullowhee, North Carolina. Architecture at the Rhode Island School of Design.

Spring 2017 29 left Writer Jack Livings is working on an untitled novel set in New York during the blizzard of February 1978. His stories have appeared in The Paris Review, among other publications, and have been awarded two Pushcart Prizes. His book The Dog, won the 2015 PEN / Robert W. Bingham Prize for debut fiction and was named a Best Book of the Year by the Times Literary Supplement. Jack lives in New York City.

right Historian Caroline Cheung studies the artisans, skills, techniques, and organization of labor required for the storage and distribution of foodstuffs to feed the city of Rome. Caroline is a doctoral candidate in Ancient History and Mediterranean Archaeology at the University of California, Berkeley.

30 Spring 2017 31 32 left above Leon Grek explores the role Artist Tomaso De Luca works in vari- of translation and displace- ous mediums, including drawing, ment in shaping the poetics of sculpture, installation, perfor- Republican Roman comedy and mance, and video to explore its reception by professional the role of the single man, and English dramatists of the late-six- the correlation between gender, teenth and early-seventeenth desire, art, and architecture. centuries. Leon is a doctoral Tomaso is based in Milan and candidate in the Department New York City. of Comparative Literature and the Interdisciplinary Doctoral Program in the Humanities (IHUM) at Princeton University.

Spring 2017 33 above right Medievalist Silvia Armando is Visual artist Enrico Riley exam- exploring the varied career of ines representations of biblical Ugo Monneret de Villard, an narratives as a commentary archaeologist, epigrapher, and on present day interpretations architectural historian who of the black body and a way devoted his life to the study of to express the vulnerability artistic interchange between and suffering of human beings the Christian and Islamic today. Enrico is an associate cultures of the medieval world. professor in the Department Silvia is an independent scholar of Studio Art at Dartmouth based in Rome. College, New Hampshire.

34 AAR Magazine Spring 2017 35 left Jenny Krieger studies catacombs in order to understand how these underground burial spaces were built and, above all, who built them. She uses a variety of evidence—from inscriptions and painting styles to spatial anal- ysis—to unravel how different teams of workman collaborated on construction and to bring to light this large, but still shadowy, group of Roman laborers. Jenny is a PhD candidate in Classical Art and Archaeology at the University of Michigan. right Hussein Fancy’s research and writing focus on the social, cultural, and intellectual history of religious interactions in the medieval Mediterranean. His current project rethinks the rela- tionship between religion and trade by following the activities of criminal merchants—pirates and smugglers—who thrived in the thirteenth and fourteenth centuries. Hussein is an associ- ate professor in the Department of History at the University of Michigan, Ann Arbor. Spring 2017 37 Kristi Cheramie is drawn to the for- TOP LEFT RIGHT gotten spaces and unrealized or Collage exploring Detail of erased histories of the built envi- the lost medieval Intermediate landscapes of the Histories, a ronment. She is revisiting and Colosseum (13 collaboration with recovering sparsely documented x 17 in.). Part of Gregory Bailey for phases of sites in Rome and then a collaborative Cinque Mostre. creating representations posi- project with Rob Clines (Theaters tioned between documented of Conversion), truth, unfinished business, and supported by the mythic tales of what might once Fellows’ Project have been. Kristi is an associate Fund. professor of landscape archi- BOTTOM LEFT tecture at the Knowlton School Research and of Architecture, The Ohio State exploration for University. Intermediate Histories. Bottom photo: Avery Architectural and Fine Arts Library, Columbia University). Columbia and Fine Arts Library, Architectural photo: Avery Bottom

38 AAR Magazine PROJECTING AMERICANISM ABROAD Italy and the Cold War

The Academy’s purported clandestine history (as a CIA outpost according to urban legend) was among the many topics discussed at Projecting Americanism Abroad, an international conference the Academy hosted in February that explored the Italian-American relationship during the Cold War. Organized by AAR Trustees Frank M. Snowden and Martin Brody, the conference brought together ten scholars in a range of disciplines to investigate “Americanism” and its impact on everything from nuclear policy and science to the trade union movement, archi- tecture, music, photography, literature, jazz, and cultural diplomacy. Over two days of presentations, questions, and discussion, several themes developed that began to define anew the parameters of Italian- American exchange during the Cold War. The term “Americanism,” for example, proved to imply not only freedom and democracy but also immigration, inequality, racism, and empire. Whether as a distant homeland pined after by American writer Ralph Ellison during his two-year fellowship at the Academy in 1955–57, or a metaphor for liberation in the essays and novels of Italian writer Oriana Fallaci, “America” also emerged as a potent, if paradoxical, symbol in

the Italian imagination. TOP: Official Poster of the International Ladies’ Garment Workers’ More concretely, the United States, in the form Union, 1950s. BOTTOM: George Howe, Model of Proposed U.S. of the State Department, the CIA, the military, and Consulate in Naples. Howe Papers. other official branches of government, appeared to have had a far more pervasive presence in Cold War designed by Americans in the Cold War era, such as Italy than previously thought. Equally revelatory New York’s Lincoln Center or U.S. Embassy head- were the distinctly Italian origins, and fiercely polit- quarters in Naples and New Delhi. ical tenor, of jazz in Italy, from its early years in the At the end of the conference, participants 1910s through Fascism, World War II, and the onset came away with a clearer vision of this notoriously of the Cold War thereafter. Also unexpected was the opaque moment in modern history. They also gained apparent debt owed to Italy’s Fascist-era architec- renewed appreciation for the insights and discover-

Bottom photo: Avery Architectural and Fine Arts Library, Columbia University). Columbia and Fine Arts Library, Architectural photo: Avery Bottom ture among some of the most celebrated buildings ies that multiple perspectives can provide.

Spring 2017 39

CREATIVE COLLABORATIONS

Fellows present their work in Fellows find numerous opportunities for cross-dis- ciplinary research and for presenting their scholarly Rome and beyond or artistic work during their residencies. Now in its third year, the AAR’s Fellows’ Project Fund enhances the practical experience of Rome Prize winners and Italian Fellows by funding collaborative work with colleagues at AAR and other national Academies and/or cultural and academic institutions in Rome and throughout Italy. Supported projects, which take place during the Fellowship year, include exhi- bitions, performances, site-specific installations, publications, symposia, or any proposal with a pub- lic component. Here is a sample of projects recently supported by the fund. As her contribution to the Cinque Mostre exhibi- tion, Danielle Simon—recipient of the Millicent Mercer Johnsen Pre-Doctoral Rome Prize and a PhD candi- date in the Department of Music at the University of California, Berkeley—developed and served as musical director for performances of Il Cuore di Wanda (Wanda’s Heart), the first Italian opera composed specifically for the radio. With a libretto by the futurist poet Pino Masnata and music by the composer Carmine Guarino, the opera received positive reviews, but was never recorded and has not been performed since its initial broadcast in 1931. Danielle arranged for two performances of the opera, as well as a recording to make the work avail- able to other scholars. E. V. Day, winner of the Henry W. and Marian T. Mitchell/Miss Edith Bloom Fund Visual Arts Rome Prize , collaborated with Danielle, serving as artistic director of the live performance LEFT and recording. The two also worked with Italian Notes for Christopher Trapani’s Tesserae. artist Zazie Gnecchi Ruscone to design costumes for All photos by altrospazio. the live performance. Historian Hussein Fancy, in collaboration with three other Fellows, conceived a retelling of an infamous

Spring 2017 41 ABOVE RIGHT moment in Italian history—a thirteenth-century Enrico Riley, Danielle Simon rebellion in Sicily popularly known as the Sicilian Infinite Receptors, & E. V. Day, Vespers—as a puppet show. The Sicilian Vespers selected drawings Wanda’s Heart and moderated talk. performance. and the Tunisian Matins consists of multiple three- to-five-minute monologues, each presented by a different historical figure from an island in the Mediterranean: Mallorca, Sicily, and Jerba. Hussein, an associate professor of history at the University of Michigan and recipient of the Andrew W. Mellon Foundation Post-Doctoral Rome Prize, notes that the aim of the show is to break the nationalist mold in which the history of the Sicilian Vespers is typically cast and to retell the episode as a shared history, one that binds Italy, Iberia, and North Africa. Hussein and Leon Grek wrote the monologues, drawing simul- taneously on history and literature. Jonathan Berger composed the music, adapting selections from Verdi’s opera I vespri siciliani (whose story is loosely based on the historical incident). Drawings by Enrico Riley highlighted the complex aesthetic heritage of Sicily. Hussein and his colleagues worked with a

42 AAR Magazine professional puppet theater company to perform tion among multiple private and public institutions, the piece at AAR in April. Caroline Cheung served as artists, musicians, and scholars in celebration of producer, and Kyle deCamp was consulting director. Florence Black History Month. Infinite Receptors is the title of a February exhibi- Inspired by the lyra and kemençe music of Crete tion of selected drawings created in Rome by Enrico and Istanbul, Christopher Trapani, recipient of the Riley, the Jules Guerin Rome Prize Fellow and an asso- Luciano Berio Rome Prize and a student of music ciate professor of studio art at Dartmouth College. composition at Columbia University, created a Enrico’s work is based on an idea of the black body new work for viola d’amore and electronics titled being manipulated into what he calls a “meta-icon, Tesserae. Grounded in a modal tradition, using small efficient at absorbing a variety of stereotypes, mis- fragments of microtonal scales to assemble long representations, and expectations.” He also draws on expressive lines, it features the unique and intimate multiple sources, including medieval Italian paint- sound of the viola d’amore, performed by one of its ing, historical and contemporary Roman architec- foremost contemporary champions, Milan-based ture, and biblical narratives. Infinite Receptors was musician Marco Fusi. Tesserae received its world shown at the SACI gallery and was accompanied premiere in Rome at the Fondazione Isabella Scelsi by a moderated talk at Museo Novecento, both in on April 12; its U.S. premiere takes place at the Italian Florence. Both the exhibition and talk were part of a Academy at Columbia University in New York on larger schedule of events, resulting from a collabora- April 26.

Spring 2017 43 TWENTY-FIRST- CENTURY ARCHAEOLOGY

44 Director Kimberly Bowes LEFT Site of the Pompeii Archaeological highlights AAR’s ongoing Research Project: Porta Stabia, sponsored by the University of Cincinnati and led by commitment to archaeology Steven Ellis (2013 Fellow).

In 1948 teams of archeologists from the Academy traveled up the Tuscan coast to the abandoned town of Cosa. They were the first Americans granted a per- mit to excavate in Italy, and under the directorship of then Mellon Professor Frank Brown, began one of the first attempts in Italy to chart the history of a Roman town. The Cosa Excavations began a long relation- ship between the Academy and archaeological fieldwork in Italy—Academy teams worked in the Regia off the Roman forum, on the Palatine hill, and even in AAR’s own parking lot, finding the first watermills on the Janiculum. In more recent years, the Academy has provided logistical support to four affiliated projects, run and funded by major American universities who use the Academy as a base for research, group meetings, and conferences. Today they represent some of the most cutting-edge examples of American archaeological research in the Mediterranean. They train hundreds of students in advanced archaeological practice and changing the way we view everything from the evolution of Roman cities to the lives of the urban poor. The University of Michigan’s Gabii Project, affiliated with the Academy since 2010, is one of the largest projects in Italy. Its goal is to understand the shad- owy origins of Roman cities by examining one of Rome’s neighbors that didn’t succeed: Gabii, located on the Via Praenestina. Directed by Nic Terrenato, the project has located a village of wooden huts from the eighth century BC, a settlement that lent Rome its first regular layout. Gabii has produced its share of spectacular finds, including perfectly preserved infant burials complete with jewelry and other ornaments and an enormous lead sarcophagus. More important for archaeology are the digital recording systems produced under the supervision of data director Rachel Opitz. Spearheading a new type of digital publication, which transforms born-digital data directly into the final report, the Gabii team is also changing the way large excavations make data and findings available to other scholars. The Pompeii Archaeological Research Project: Porta Stabia, sponsored by the University of Cincinnati

Spring 2017 45 2 1 and led by Steven Ellis (2013 Fellow), is addressing another neglected aspect of Roman cities—the poor. This project has excavated an entire Pompeiian neighborhood near the Porta Stabia, revealing a community dominated by small shops and adjacent tiny apartments, where poor Romans made fish sauce and ceramics, sold their wares in storefronts, and lived cheek by jowl with their neighbors. The research team has looked carefully at the spaces and environment of the ancient neighborhood, while also using studies of animal bones, plant materials, and charcoal to understand what its inhabitants ate and how they cooked. Further south, in Sicily, a new affiliated project led by Alex Walthall (2013 Fellow) of the University of 3 Texas at Austin and Princeton University is explor- ing another poor neighborhood. The Greek-founded city of Morgantina began as a small city of native Sicilians and grew to its greatest prominence under the tyrant-kings of Syracuse. The Contrada Agnenese Project at Morgantina is excavating an area of modest houses at the city’s edge, using advanced technolo- gies to understand agricultural strategies, storage, and other ways that poor people benefited from and were exploited by state policies. Alex and his col- 1 2 3 leagues are trying to understand how the actions of Conservation work Using flotation to Topographers on leaders such as the Syracusan tyrants impacted both at the University separate botanical site at Gabii. of Michigan’s materials from soil agriculture and the lives of the urban poor. Gabii Project, at Gabii. In addition to facilitating new excavation proj- one of the largest ects, the Academy is reexamining its older projects. archaeological The archives of earlier excavations are treasure projects in Italy.

46 AAR Magazine troves of information, whether they are projects that were never published or providing opportunities to rethink older conclusions. In addition to rehousing all of the Academy’s archaeological records and materials in proper archival storage, the Academy has also activated new projects based on those archives. The Academy’s Regia excavations in 1964–65 were never published, yet the project remains a benchmark for its time, both for the methods it used and the historical importance of the site, the legendary house of the priest-kings of Rome. Darby Scott (1966 Fellow, 1979 Resident), former Mellon Professor, is undertaking the publication of Frank Brown’s original project. Simultaneously, the Regia Revisited Project, led by Nic Terrenato of the University of Michigan and Paolo Brocato of the Università di Calabria, is reexamining the Regia archive and the excavated materials, revisiting Brown’s conclusions and, with them, the history of Rome itself.

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4 5 6 2016 Rome Prize Workers processing Excavation activity winner Kevin Dicus excavated materials at Morgentina, led working at the in the finds lab by the University Porta Stabia site. at the Contrada of Texas at Austin 5 Agnenese Project at and Princeton Morgantina. University.

Spring 2017 47 In the spirit of Mark Twain’s The Innocents Abroad (1869), which brought American mythologies into CHARLES RAY relief through direct encounters with Europe, AAR invited celebrated artist Charles Ray, to explore the theme of “American Classics.” The new sculpture IN ROME resulting from this invitation debuts in a two-work exhibition at the Academy in May, during the artist’s Celebrated artist debuts new work tenure as the 2017 Deenie Yudell Artist in Residence. The show is part of a year-long program investigating influenced by classical sculpture the enduring currency of antiquity in the contempo- rary world. For many years, Charles has hiked in the Santa Monica Mountains, a coastal range in Southern California. Bound by major traffic arteries and White © Charles Ray Courtesy Matthew Marks Gallery. by Josh Photograph some of the most densely settled areas of the United States, the Santa Monica range hosts a dwindling population of mountain lions, a vestige of the storied American frontier, struggling to survive in a habitat too isolated and too small to sustain it. His pre- dawn walks in this environment doubtless inspired both of the exhibited works, but in each Charles also plays with conventions defining the canons of classical sculpture. Shoe Tie (2012) recalls Boy with Thorn (1st c. BC), also called Spinario, a bronze sculpture from the Capitoline Museums. Charles’s work is a self-por- trait, naked, like the classical figure, crouching down as if to retie his shoelaces. In doing so, he exposes his neck and so leaves himself vulnerable to an attack from a mountain lion. In Mountain Lion Attacking a Dog (2017), the commissioned work, Charles revisits a famed Hellenistic sculpture from the Capitoline Museums: Lion Attacking a Horse (Greek, 325–300 BC; restored in Rome in 1594). An icon of Rome and among the most storied works of art to survive from antiquity, this sculptural group was greatly admired by Michelangelo. Charles converts its naturalistic scene of primal violence into the vernacular of con- temporary America, transposing it to an American wilderness encroached on and compromised by urban sprawl. Reimagining classical prototypes in a personal and culturally specific way, Charles confronts the uneasy truce between humans and a natural world threatened with extinction. In two public lectures related to the exhibition, Charles discusses how his approach to sculpture explores American myths and is informed by closely looking at the art of the past. The exhibition is Shoe Tie, 2017; fiberglass pattern, curated by Peter Benson Miller, Andrew Heiskell 28 7/8 x 29 1/4 x 23 1/2 inches. Arts Director.

48 AAR Magazine Photograph by Josh White © Charles Ray Courtesy Matthew Marks Gallery. SUPPORTING INNOVATION Fondazione Sviluppo e Crescita CRT establishes a new AAR Italian Fellowship

The Academy and Fondazione Sviluppo e Crescita CRT, an initiative of the Fondazione CRT, are pleased to announce a new partnership to offer an Italian Fellowship at the AAR to an artist or scholar based in Piedmont. The first recipient of the Fondazione Sviluppo e Crescita CRT Italian Fellowship is Rä di Martino. AAR Italian Fellowships provide a unique oppor- tunity for artists and scholars to join the international Academy community where they can do focused work while also collaborating across disciplines. Recognizing the effect of time at the Academy, Fondazione Sviluppo e Crescita CRT has established this Fellowship to support creative and intellectual work in Piedmont. This also strengthens their commitment to providing transformational opportunities, which will be further emphasized this fall with the opening of OGR-CRT, a 215,000 square foot state-of-the-art innovation hub and contemporary arts center in Turin. “Our partnership with the American Academy in Rome is particularly strategic for the region in light of the opening of the OGR, a unique example of indus- trial reconversion in Europe that aims to unite two souls under the same roof, artistic and technological research,” said Massimo Lapucci, Secretary General of Fondazione Sviluppo e Crescita CRT. TOP ABOVE The inaugural CRT Fellow, Rä di Martino, is an The Sun or Every World’s a Electrich Light Stage (Beggar in internationally acclaimed artist and filmmaker living (Eureka Palm), the Ruins of the in Turin. In an effort to expand her way of working 2017. Future) 2012; with moving images and photography, her project will © A. Rossetti. photographic involve researching experimental Roman films and dyptic, silver gelatin print. video of the 1960s, 1970s, and 1980s in the archives of the Cineteca Nazionale Fondazione SCS Rome. She anticipates using this research in a new video project that incorporates themes from these films and breaks from standard styles of film, documentary, and video art.

50 AAR Magazine DONORS:

This publication is generously supported by $1,000,000 and above $5,000–$9,999 Jessie and Charles Price. Charles K. Williams, II Elizabeth Bartman, FAAR’83, and Andrew P. Solomon We thank the following for their support of $100,000–$999,999 Suzanne Deal Booth the American Academy in Rome (August 1, Mercedes T. Bass Stephen Carr, RAAR’75 2016–March 15, 2017). Cary Davis and John McGinn The Ettinger Foundation Richard Grubman and Caroline Mortimer Professor Katherine A. Geffcken, FAAR’55 Drue Heinz Trust April Gornik, RAAR’96, and Allison and Roberto Mignone Eric Fischl, RAAR’96 James J. Pallotta Stephen Harby, FAAR’00 Mr. and Mrs. H. Charles Price Thomas F. Kelly, FAAR’86, RAAR’02 Susan and David Kertzer, RAAR’00 $25,000–$99,999 LAND COLLECTIVE Cynthia and Ronald Beck John J. Medveckis Jim and Katie Brennan Professor Michael C. J. Putnam, FAAR’64, Mr. and Mrs. Livio Borghese RAAR’70, and Mr. Kenneth Gaulin Vincent and Linda Buonanno C. Brian Rose, FAAR’92, RAAR’12 Daryl and Robert S. Davis, FAAR’91 Janet Ross Sharon Davis Jane F. Safer Enel Foundation The Thorne Foundation Mary and Howard Frank John H. Wilson, III Mr. and Mrs. Edward Hyman Rachel Jacoff, RAAR’11 $1,000–$4,999 Marjorie E. Kreilick-McNab, FAAR’63 2x4 The Samuel H. Kress Foundation A G Foundation Catriona and Simon Mordant AM Diane C. Ahl, RAAR’13 John F. W. Rogers Cynthia B. Altman Louisa Stude Sarofim Anthony Ames, FAAR’84 Shapiro-Silverberg Foundation The Amphion Foundation, Inc. Billie Tsien, RAAR’00, and Teodolinda Barolini, RAAR’12 Tod Williams, FAAR’83 Rose-Anne Bartholomew Barbara and David Zalaznick Cheryl Barton, FASLA, FAAR’04 Margaret E. Bates and Scott Johnson $10,000–$24,999 Dr. Paul Bentel and David and Judith Barrett Dr. Carol Rusche Bentel, FAAR’94 The Miss Edith Bloom Fund for Visual Arts Dr. Caroline Blackman-Coakley Allston Chapman Bloomberg L.P. Citi William L. Boast, FAAR’16, and The Aaron Copland Fund for Music Katherine Carlson Mrs. Donald M. Cox Suzanne Bocanegra, FAAR’91, and Raffaella Cribiore David Lang, FAAR’91 Elizabeth Gordon Kathleen Braden Wendy Evans Joseph Professor Martin Brody, RAAR’02, and Lamb-Baldwin Foundation Professor Katharine Park Karen Levy and Paul S. Levy Elizabeth A. R. and Ralph S. Brown, Jr. Musa and Tom Mayer Theodore L. Brown William B. McGurn, III Will Bruder Architects, Ltd. Blake Middleton, FAIA, FAAR’82, and Thomas H. Carpenter and Dr. Martha Eddy Lynne C. Lancaster, FAAR’02 Helen Nagy, FAAR’86, RAAR’09, and Charina Foundation, Inc. Eric Lindgren Laura Chioffi Townes L. Osborn and Robert S. Marquis John R. Clarke Beth K. Pfeiffer Chuck Close, RAAR’96 Pinacoteca Giovanni e Marella Agnelli Licia and Michael Conforti, FAAR’76, RAAR’08

Spring 2017 51 Paul and Elizabeth De Rosa Robert and Susan Morgenthau AAR Patron Members Judith Di Maio, FAAR’78, RAAR’09 Nautilus Foundation, Inc. Hester Diamond Susan and Peter Nitze Chairman’s Council Mr. Remmel T. Dickinson Nancy and John Novogrod Suzanne Deal Booth Andrea H. Fahnestock Michael and Carol Palladino William B. Hart and Constance Eaton Jennifer and William H. Fain, Jr., FAAR’02 Avani Parikh Mr. and Mrs. Edward Hyman Diane Favro, RAAR’15, and Lauren Hackworth Petersen, FAAR’99, Nancy M. O’Boyle Fikret K. Yegül, RAAR’98 and Stephen Petersen Alexander and Jeanne Sloane Ronald L. Fleming Anne Jacques Phelps Giuseppina Di Flumeri Cynthia Hazen Polsky and Leon Polsky President’s Council Mark M. Foster Peter E. Pool David and Judith Barrett Elaine K. Gazda, RAAR’14 Rainis Family Foundation Allston Chapman Richard Gluckman and Tiffany Bell Judith Raphael Elizabeth M. Gordon Carin Goldberg, FAAR’15 Douglas Reed, ASLA, RAAR’11 Alexa Hampton and Pavlos Papageorgiou Stuart Goode The Rhoades Foundation Wendy Evans Joseph, FAAR’84 Professor Alden R. Gordon and Mark Robbins, FAAR’97, and Dr. Peggy McEvoy Professor Jean Cadogan Brett Seamans Susan and Peter Nitze John W. Haeger Diana Robin, FAAR’88 Townes L. Osborn and Robert S. Marquis Lyle Ashton Harris, FAAR’01 Peter G. Rolland, FASLA, FAAR’78 Beth K. Pfeiffer Bunny Harvey, FAAR’76 Anne Rorimer Anne Jacques Phelps Gary R. Hilderbrand, FAAR’95 Ann and Harry Santen Cynthia Hazen Polsky and Leon Polsky Joel and Carol Honigberg Abigail Scheuer Walter J. Hood, FAAR’97, RAAR’14 Mack Scogin McKim & Morgan Society Members Bruce Horten and Aaron Lieber Judith Greenberg Seinfeld Joseph H. Aronson, FAAR’74 Pamela Hovland, FAAR’06 Mel and Pamela Shaftel Foundation, Inc. Paul Arpaia, FAAR’08 Tracey Hummer Cathy Simon, RAAR’16 Andrew N. Baer and Elizabeth Freeman Julia Hung Peter F. Smith, FAAR’69 Beryl Barr-Sharrar Barbara C. Imbrie Snøhetta Robert Beaser, FAAR’78, RAAR’11 Jasper Johns / Low Road Foundation Joseph B. Solodow, FAAR’81 Dr. Larry Thomas Bell, FAAR’83, and Mary Margaret Jones, FAAR’98, and Mr. and Mrs. Michael I. Sovern Ms. Andrea Olmsted Douglas Argue, FAAR’98 Paul and Dianne Stebbins Mary Jo and Richard C. Bell, FAAR’53, Stephen J. Kieran, FAIA, FAAR’81, and Mr. Robert A. M. Stern RAAR’75 Barbara K. Degrange David M. Stone, FAAR’98, and Mirka Benes Andrew Klemmer and Ann Orcutt Linda Pellecchia, FAAR’92 Ludmila Schwarzenberg Bidwell Margaret L. Laird Barry S. Strauss, RAAR’13 Thomas Bosworth, FAAR’81 Ms. Miyoung E. Lee and Lisa T. Switkin, FAAR’08 Kathleen Weil-Garris Brandt, RAAR’82 Mr. Neil P. Simpkins Calvin Tsao, RAAR’10 Charles Brickbauer, FAAR’57 Andrea Leers, FAIA, and John Walsh Steven Brooke, FAAR’91 Jane Weinzapfel Debra Wassman Patricia Fortini Brown, FAAR’90, RAAR’01 Carol F. Lewine Mark S. Weil, RAAR’86 Caroline A. Bruzelius, FAAR’86, RAAR’89 Dorothy Lichtenstein Lorraine and Adam Weinberg Adele Chatfield-Taylor, FAAR’84, and Julie and John Lippman Weiss/Manfredi Architects John Guare, RAAR’13 Lester K. Little and Lella Gandini Kim and Jeremy N. White George E. Hartman, FAAR’78, RAAR’96, Thom Mayne, FAIA, and Fred D. Wilson and Whitfield Lovell and Jan Cigliano Blythe Alison Mayne John L. Wong, FAAR’81, and Chuck Close, RAAR’96 T. K. and Emily McClintock Mildred Sum-Wong Sophie C. Consagra Dr. Peggy McEvoy Anonymous (1) Jane W. Crawford, FAAR’82, RAAR’96, and Thomas A. J. and Eileen N. McGinn Bernard Frischer, FAAR’74, RAAR’13 Richard Meier, RAAR’74 Daryl and Robert S. Davis, FAAR’91 Linda and Michael Mewshaw David G. De Long, RAAR’98 Mirnahill Foundation Judith Di Maio, FAAR’78, RAAR’09 Joseph Mizzi Suzanne and Ronald L. Dirsmith, FAAR’60 Derek A. R. Moore, FAAR’84, and Harry B. Evans, FAAR’73, RAAR’91 Charlotte Nichols, FAAR’83 James L. Franklin Jr., FAAR’75

52 AAR Magazine Warren Bryan Fuermann Shirley F. Royal Jenks Professor Katherine A. Geffcken, FAAR’55 Susan C. Salay Frank S. Gilligan Martica R. Sawin Francine du Plessix Gray, RAAR’80 Peter F. Smith, FAAR’69 John W. Haeger Pamela F. Starr, FAAR’84 Mrs. Mark Hampton Dr. Virginia Bush Suttman, FAAR’77 Ann Hartman James Timberlake, FAAR’83, FAIA, and Louise K. Hirschfeld and Lewis B. Cullman Ms. Marguerite Rodgers Professor Richard J. Hoffman, FAAR’72 Sara Little Turnbull Susan R. Hughson and James R. Turner, FAAR’76 George A. Hinds, AIA, FAAR’84 Ann Weber John W. Hyland, Jr. Phoebe D. Weil, RAAR’07 James R. Jarrett, FAAR’59 Irma Giustino Weiss Robert J. Jergens, FAAR’63 Charles Witke, FAAR’62, RAAR’98, and Wendy Evans Joseph, FAAR’84 Aileen Gatten Buff S. Kavelman Diane Favro, RAAR’15, and Richard G. Kenworthy, FAAR’70 Fikret K. Yegül, RAAR’98 G. N. Knauer, RAAR’85, and Kezia Knauer T. C. Price Zimmerman Marjorie E. Kreilick-McNab, FAAR’63 Anonymous (2) Lisa Kressbach Anne Laidlaw, FAAR’61, RAAR’76 Albert Lamb III, FAAR’70 Leila Laughlin and Daniel Javitch, FAAR’90, RAAR’96 William Levitan, FAAR’88, and Debra Nails Carol F. Lewine Elizabeth Locke and John Staelin Annette and Craig McGhee Melissa Meyer, FAAR’81 Chas A. Miller, III, and Birch Coffey Judith and Henry A. Millon, FAAR’60, RAAR’66 Maria Teresa Marabini Moevs, FAAR’64 Bitsie and Grover E. Mouton, FAAR’73 Kathy Muehlemann, FAAR’88, and James Muehlemann, FAAR’82 Gwynn Murrill, FAAR’80 Helen Nagy, FAAR’86, RAAR’09, and Eric Lindgren Susan and Peter Nitze Laurie Nussdorfer, FAAR’81, and Nicholas Adams, FAAR’88 Nancy M. O’Boyle James E. Packer, FAAR’64 Paul R. V. Pawlowski, FAAR’69, and Ingrid Anderson Beverly Pepper, RAAR’86 Catherine and William L. Plumb, FAAR’86 Professor Michael C. J. Putnam, FAAR’64, RAAR’70, and Mr. Kenneth Gaulin Cynthia Pyle, FAAR’78, and Richard Kayne Dr. W. G. Rainer M.D., P.C. Peter G. Rolland, FAAR’78, FASLA C. Brian Rose, FAAR’92, RAAR’12

Spring 2017 53 CURRENT FELLOWS: 2016–2017 Rome Prize winners and Italian Fellows

ANCIENT STUDIES ARCHITECTURE Charles K. Williams II Rome Prize STELLA NAIR Dorothy and Lewis B. Cullman/ Founders Rome Prize Associate Professor, Department National Endowment for the Humanities PHU HOANG & RACHELY ROTEM of Art History, University of California, Post-Doctoral Rome Prize Directors, MODU Los Angeles DORIAN BORBONUS Hoang: Assistant Professor Adjunct, Rome in the Andes: The Impact Associate Professor, Department Graduate School of Architecture, Planning of the Classical World on Inca of History, University of Dayton and Preservation, Columbia University Architectural History The Tombs of Rome: Burial and History The Mutating Weathers of Rome’s Ruins in the Center of Power LANDSCAPE ARCHITECTURE Arnold W. Brunner Rome Prize Andrew W. Mellon Foundation ROBERT HUTCHISON Prince Charitable Trusts/ Pre-Doctoral Rome Prize Principal, Robert Hutchison Architecture; Kate Lancaster Brewster Rome Prize CAROLINE CHEUNG Affiliate Assistant Professor, KRISTI CHERAMIE Ph.D. Candidate, Graduate Group in Department of Architecture, Associate Professor of Landscape Ancient History and Mediterranean Archae- University of Washington Architecture, the Knowlton School of ology, University of California, Berkeley Drawing the Liminal City Architecture, The Ohio State University Storage and Packaging for an Empire: Recovering Lost Worlds: A Natural Agricultural Economies of West- Founders/Arnold W. Brunner/ History of Erasure Central Italy, c. 200 BCE–200 CE Katherine Edwards Gordon Rome Prize YASMIN VOBIS Garden Club of America Rome Prize Andrew Heiskell Post-Doctoral Rome Prize Principal, Ultramoderne; Critic, JASON SIEBENMORGEN KEVIN DICUS Rhode Island School of Design Senior Associate, Michael Van Assistant Professor, Department Disciplining Colore Valkenburgh Associates, Inc. of Classics, University of Oregon From Ancient Italy to Urban Parks Today: Waste Not Waste: Managing Garbage DESIGN A Study of the Role of Plants in Italian in the Roman City Gardens and Their Influence on Urban Cynthia Hazen Polsky and Leon Polsky Park Design Arthur Ross Pre-Doctoral Rome Prize Rome Prize ANDREW HORNE KYLE DECAMP LITERATURE Ph.D. Candidate, Department of Classics, Andrew W. Mellon Artist in Residence, University of Chicago Drew University; Adjunct Lecturer, John Guare Writer’s Fund Rome Prize, Freedom and the Human Being: Department of Theatre, Barnard College a gift of Dorothy and Lewis B. Cullman Libertas in Cicero and Horace “here where the bridge floats” JACK LIVINGS Writer Emeline Hill Richardson/Samuel H. Kress Mark Hampton Rome Prize Untitled novel-in-progress Foundation/Helen M. Woodruff Fellowship DAVID REINFURT of the Archaeological Institute of America Lecturer, Department of Visual Arts, Joseph Brodsky Rome Prize, Pre-Doctoral Rome Prize** Princeton University a gift of the Drue Heinz Trust/American JENNY R. KREIGER Design as Art: Bruno Munari Academy of Arts and Letters Interdepartmental Program and Adriano Olivetti MATTHEW NEILL NULL in Classical Art and Archaeology, Writer University of Michigan HISTORIC PRESERVATION AND CONSERVATION How Much Water Does a Man Need? The Business of Commemoration: A Comparative Study of Italian Catacombs Booth Family Rome Prize MEDIEVAL STUDIES GREGORY BAILEY Irene Rosenzweig/Lily Auchincloss/ Assistant Conservator, Walters Andrew W. Mellon Foundation Samuel H. Kress Foundation Art Museum Post-Doctoral Rome Prize Pre-Doctoral Rome Prize* An Investigation of the Craft Origins HUSSEIN FANCY SOPHIE CRAWFORD WATERS and Technology of “Venetian” Enamels Associate Professor, Department of Ph.D. Candidate, Graduate Group in the on Copper History, University of Michigan Art and Archaeology of the Mediterranean The Outlaw Sea: The Making of the World, University of Pennsylvania Medieval Mediterranean Daedala Tecta: Architectural Terracottas and Cultural Memory in Republican Italy

54 AAR Magazine Marian and Andrew Heiskell/Samuel H. Kress RENAISSANCE AND EARLY MODERN STUDIES 2016–2017­ ITALIAN FELLOWS Foundation Pre-Doctoral Rome Prize** JOHN LANSDOWNE Donald and Maria Cox Post-Doctoral Italian Fellow in Medieval Studies Department of Art and Archaeology, Rome Prize SILVIA ARMANDO Princeton University KATHLEEN CHRISTIAN Independent Scholar Image Made Flesh: The Micromosaic Senior Lecturer, Department of Art History, L’Oriente è paese dalle molte vite e dalle Man of Sorrows at Santa Croce in The Open University molte storie. Ugo Monneret de Villard and Gerusalemme in Rome Michelangelo’s Bacchus, Cardinal The Art and Archaeology of the Medieval Raffaele Riario, and the Culture of World in the First Half of the 20th Century Phyllis W.G. Gordan/Lily Auchincloss/ Antiquarianism in Renaissance Rome Samuel H. Kress Foundation Pre-Doctoral Italian Fellow in Literature Rome Prize* Jesse Howard, Jr./Andrew W. Mellon ANDREA BAJANI JOSEPH WILLIAMS Foundation Post-Doctoral Rome Prize Writer Ph.D. Candidate, Department of Art, Art ROBERT JOHN CLINES The Forgiveness Machine History, and Visual Studies, Duke University Assistant Professor, Department of The Practice and Production of Architecture History, Western Carolina University Italian Fellow in Modern/Contemporary during the Mediterranean Commercial The Culture of Conversion: A Jewish Jesuit Italian Studies Revolution: The Church of S. Corrado in in the Early Modern Mediterranean MILENA BELLONI Molfetta (ca. 1185–1303) Department of Sociology and Social Paul Mellon/Frank Brown Pre-Doctoral Research, University of Trento MODERN ITALIAN STUDIES Rome Prize Cosmologies of Destinations: LEON P. GREK Understanding Contemporary Asylum National Endowment for the Humanities Ph.D. Candidate, Department of Com- Flows Through Italy to Europe Post-Doctoral Rome Prize parative Literature, Princeton University JESSICA MARGLIN Staging the Cosmopolis: Comedy and Cy Twombly Italian Fellow in Visual Arts Assistant Professor, School of Religion, and Translation in Republican Rome and Early TOMASO DE LUCA Ruth Ziegler Early Career Chair Modern London Artist in Jewish Studies, University of A Single Man Southern California VISUAL ARTS Nationality on Trial: Italy, Tunisia, and the Enel Italian Fellow in Architecture/ Making of the Modern Mediterranean Henry W. and Marian T. Mitchell/ Landscape Architecture Miss Edith Bloom Fund Rome Prize ANNALISA METTA Millicent Mercer Johnsen E. V. DAY Assistant Professor, Landscape Pre-Doctoral Rome Prize Artist Architecture, Department of Architecture, DANIELLE SIMON Bernini’s Twist Roma Tre University Ph.D. Candidate, Department of Music, Southward_When Rome Will Have University of California, Berkeley Chuck Close/Gilmore D. Clarke/ Gone To Tunis La Voce della Radio: Opera and the Radio in Michael I. Rapuano/ Italy, 1931–1960 John Armstrong Chaloner Rome Prize Franco Zeffirelli Italian Fellow NICOLE MILLER in Musicology MUSICAL COMPOSITION Artist GIUSEPPE SERGI Rome Department of Musical Languages Elliott Carter Rome Prize and New Technologies, Conservatory JONATHAN BERGER Joseph H. Hazen Rome Prize of Sassari Composer and Professor, Department MICHAEL QUEENLAND The Influence of Jazz on the Italian of Music, Stanford University Artist Song Between the World Wars Rime Sparse, and Todt Durch A Physical Journalism Detranken (Death by Drowning) Jules Guerin Rome Prize Luciano Berio Rome Prize ENRICO RILEY CHRISTOPHER TRAPANI Artist and Associate Professor, Department of Music, Columbia University Department of Studio Art, Recording Islands, Transcribing Mosaics Dartmouth College * year one of a two-year fellowship The Black Body as Infinite Receptor ** year two of a two-year fellowship

Spring 2017 55 WHEN IN ROME:

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Current Fellows share the favorite One steps into it as into a cave, only to find ing the Italian bottled water industry. You places they’ve discovered in Rome. the shimmering Byzantine mosaic of Christ can buy a plastic cup for 5 cents to enjoy a Pantocrator just above your head, which refreshing break. 1 you can examine with a precision and —Dorian Borbonus & Sophie Crawford Waters GIARDINO DEGLI ARANCI intimacy that a heaven-high dome does 5 on the Aventine Hill not allow you. Bring a euro or two for the This is a lovely little pedestrian path that machine. IL PARCO DEGLI ACQUEDOTTI my daughter calls the “secret passage,” —Matthew Neill Null Parco Regionale Appia Antica, and walking up it you get a gorgeous view Via Lemonia 3 through a door that leads into the Giardino A large, open-program green space about degli Aranci. THE NON-CATHOLIC CEMETERY 5kms outside of the Aurelian Walls. The —Jessica Marglin Via Caio Cestio, 6 space is defined by fragments of the Aqua Magical! Claudia and Aqua Marcia (turned Acqua 2 —E. V. Day Felice in 1586). The park uses innovative CHAPEL OF SAINT ZENO management strategies, partnering with 4 farmers to find productive uses for the Via di Santa Prassede, 9 I must utter a blasphemy, that the grand FONTE EGERIA large expanses surrounding the infrastruc- churches of Rome—soaring above my Via dell’Almone, 105 ture. To reach the park: a short trek by frail human form—don’t appeal to me. Fonte Egeria is one of the springs around metro line A, exiting at Giulio Agricola or Instead, I visit the tiny side chapel of Saint Rome where local residents fill up all the Subaugusta stops. Zeno at the Church of Santa Prassede. plastic containers they own with naturally —Kristi Cheramie The chapel is built to the human scale. effervescent water as an alternative to fuel-

56 AAR Magazine Founded in 1894, the American Academy in Rome is the oldest American AMERICAN ACADEMY IN ROME overseas center for independent study and advanced research in BOARD OF TRUSTEES the arts and humanities. A not-for-profit, privately funded institu- Laurie Anderson, RAAR’06 tion, the Academy awards the Rome Prize to a select group of artists Pierpaolo Barzan Cynthia L. Beck and scholars annually, after an application process that begins each Susanna Borghese fall. The winners, selected by independent juries through a national Kimberly Bowes, FAAR’06, Director* competition process, are invited to Rome the following year to Jim Brennan pursue their work in an atmosphere conducive to intellectual and Martin Brody, RAAR’02 Vincent J. Buonanno artistic experimentation and interdisciplinary exchange. Awards are Cary J. Davis offered in the following categories: Literature, Music Composition, Sharon Davis Visual Arts, Architecture, Landscape Architecture, Design, and Ginevra Elkann Gaetani Historic Preservation and Conservation, as well as Ancient, Medieval, Mary E. Frank Lyle Ashton Harris, FAAR’01 Renaissance and Early Modern, and Modern Italian Studies. The Walter J. Hood, FAAR’97, RAAR’14 Academy also invites a select group of Residents, Affiliated Fellows, Mary Margaret Jones, FAAR’98, Chair and Visiting Artists and Scholars to work together within this excep- Thomas F. Kelly, FAAR’86, RAAR’02 tional community in Rome. David I. Kertzer, RAAR’00 David A. Lang, FAAR’91, RAAR’17 Paul S. Levy Fondata nel 1894, l’American Academy in Rome è il più antico centro amer- Thom Mayne icano fuori dagli Stati Uniti dedicato allo studio indipendente e alla William B. McGurn, III ricerca avanzata nelle arti e nelle discipline umanistiche. L’Accademia Roberto A. Mignone Simon D. Mordant AM è un’istituzione senza scopo di lucro finanziata grazie all’appoggio di Helen Nagy, FAAR’86, RAAR’09 privati che offre ogni anno la borsa di studio Rome Prize a un gruppo Nancy Novogrod di artisti e studiosi. Il processo di selezione è affidato a un concorso James J. Pallotta nazionale negli Stati Uniti che prende avvio in autunno e che si avvale Kelly D. Powell, FAAR’02* Jessie H. Price della valutazione di giurie indipendenti: i vincitori sono invitati a Francine C. Prose, RAAR’06 Roma a condurre il proprio lavoro in un’atmosfera di libertà intel- Mark Robbins, FAAR’97, President* lettuale e artistica e di scambio interdisciplinare. La borsa di studio Michael Rock, FAAR’00 premia persone che operano nelle arti (architettura, architettura John F.W. Rogers, Vice Chairman C. Brian Rose, FAAR’92, RAAR’12, del paesaggio, arti visive, composizione musicale, conservazione e Vice Chairman restauro dei beni storico-artistici, design e letteratura) e nelle Michele R. Salzman, FAAR’87, RAAR’08** discipline umanistiche (studi classici, medievali, sul Rinascimento Louisa Stude Sarofim e sulla prima età moderna, e sull’Italia moderna). L’Accademia, Frank M. Snowden, RAAR’03 David M. Stone, FAAR’98, RAAR’16 inoltre, invita a Roma alcuni prestigiosi esponenti delle arti e degli Robert Storr studi umanistici (Residenti), borsisti scelti in collaborazione con Calvin Tsao, RAAR’10 altre importanti istituzioni e un selezionato gruppo di altri artisti e Adam D. Weinberg studiosi a unirsi e a lavorare insieme ai Borsisti all’interno della Charles K. Williams II Tod C. Williams, FAAR’83 nostra eccezionale comunità. Fred Wilson Barbara Zalaznick To learn more, please visit: AAROME.ORG LIFE TRUSTEE Michael C.J. Putnam, FAAR’64, RAAR’70

FAAR Fellow, American Academy in Rome RAAR Resident, American Academy in Rome * ex officio ** Trustee representing the Advisory Council to the Committee on the School of Classical Studies, 2017–2020.

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COVER Installation view of Teresita Fernandez’s Fire (America), on exhibit at Lehmann Maupin Gallery from March 17 through May 20, 2017 (201 Chrystie Street, NYC). Teresita (2018 Resident, 1999 Affiliated Fellow) is the featured speaker at the 2017 Rome Prize Ceremony (see p. 23).