From the Ground Up - Creating an International Art Exhibit

This is a transcript of a podcast appearing on our Podcast page.

Carolyn: Walking through an art exhibit is both relaxing and exhilarating. Seeing objects up close that were created an ocean away, there’s a feeling of appreciation and connection. Have you ever wondered how an international exhibit comes together? How does it go from the original inspiration all the way to shipping one of a kind pieces of art across an ocean? I had the chance to pose these questions to Dr. Evelyn Rossetti, Executive Director of the Westchester Italian Cultural Center in Tuckahoe, New York. In this program, Dr. Rossetti explains the details of how 2 art exhibits, one a collection of ceramics from Este, Italy and the other, paintings from Venice, made their way from concept to opening day in Tuckahoe, New York.

Evelyn: When you’re involved in planning an exhibition it’s all very exciting and I think people frequently think about the end result, as they should, because you need to start at the end and work backwards. But as they say, the devil’s in the details. And there are so many details that go into planning an exhibit. How many pieces and how will the pieces get here?

Carolyn: Especially when you’re dealing with overseas, original works of art. It requires so much creativity and patience and detailed planning on your part.

Evelyn: And diligence. You really need to believe in it and you really need to want to make sure it comes out correctly. So one works very hard at that and engages a variety of professionals to help with that. Making sure there’s proper insurance to protect the shipping of the artwork, and making sure the artwork does get out of customs. And on the walls, as it should .Which is what everyone wants at the end of the day. They want to see the artwork on the walls!

Carolyn: We’ll begin with Ceramica Magnifica Exhibit. Ceramica Magnifica was part of about 67 exhibitions taking place throughout Westchester County, New York under the umbrella of an initiative called All Fired Up. The Westchester Arts Council created All Fired Up in order to celebrate the ceramics tradition across a broad range of styles and countries.



Ceramica Magnifica at the Westchester Italian Cultural Center ran from Oct. 7 through Nov. 30, 2008. All of the pieces were produced in the town of Este, just outside of Venice Italy.

Walking through the exhibit at the Center was a calm, almost serene experience, with each piece lit just so to bring out its shape, color and character. But how did all of this come together?

Evelyn: I had the occasion to meet one of the curators, Dr. Judith Schwartz who’s at NYU who is the chair of the ceramics program at NYU, and Judy said, “Have I got a show for you! This is a perfect show for the Westchester Italian Cultural Center.” I learned more about it, I met with Federika Marangoni who is a renowned artist and also curated the show for us and I said yeah, it’s a perfect fit. It was a year in planning.

Carolyn: I guess that’s what you have to do to create things like this, they don’t just come together in 15 minutes.

Evelyn: Our meeting did, and knowing that we would do this did, but the shipping of it, the planning, the curating, preparation of the catalogue that took much longer.

Carolyn: I would think the shipping from Italy and you have to wait for it to come thru customs. How long did it take to get here?

Evelyn: All tolled, it probably took between 3 or 4 weeks, which, at the end of the day wasn’t terrible at all. But we were very well prepared, the show was very well planned out, the artists were very enthusiastic.

Carolyn: The town of Este, Italy has a ceramics tradition that dates back 6,000 years.

Evelyn: It’s remarkable; 6,000 years. They’re very, very proud of their ceramics tradition. However, with modern times some of the interest in ceramics production had started to wane, and so to reinvigorate an interest and to keep the tradition alive the town of Este created a juried art exhibition every 3 years, much like the Venice Biennale. They are doing the Este Triennale, all focused on ceramics, contemporary ceramics design and it brings a wealth of ideas and variety of artists to the town.

Carolyn: The Ceramica Magnifica exhibition is a survey of pieces over 3 years: 2001, 2004 and 2007. Not all of the artists in the show are Italian, but all of the pieces were produced in the town of Este in its rich tradition.

The artists participating in this exhibition are from various disciplines; fashion designers, architects and graphic designers. These artists interpreted their particular visions into ceramic pieces.

Evelyn: There are American artists in it, people like Allison Sky, Ultraviolet who was a contemporary of Andy Warhol, John Loring, Missoni, Krizia, Massimo Vignelli and Adam Tehani. The show celebrates not just ceramic artists per se, but also people who are creative and who have created these very interesting, very compelling, very provocative designs.

Some of the pieces are very useful, they can be a plate for example. And some of them are very whimsical and some of them are very provocative. It really plays with the possibilities of what ceramics can be. So it’s really a show that’s on the cutting edge but celebrating traditions, and carrying forth lots of traditions. It was also very exciting for the town of Este in fact, the gentleman whose workshop, whose factory produced all of the ceramics was here the night of the Opening and the mayor of the town of Este was here.

Carolyn: Some of the artists were also in attendance at the Opening.

Evelyn: Armando Milani was here, and he’s just a treat, Ultraviolet, Angie Churchill was here. Angie Churchill was interesting because she had been the Chair of Ceramic Arts at NYU some years ago, and she was originally from Milano, so this exhibition had a very special resonance for her as a professional artist, as a professor, as an Italian American woman.

Carolyn: After Ceramica Magnifica’s run at the Westchester Italian Cultural Center, it will be brought to different museums and galleries in the Westchester County area

Evelyn: so that this tradition and this wonderfully, beautifully curated show with some 65 artists in it will continue on.



Carolyn: The next exhibit we examined was the paintings of Roberto Merelli, which appeared at the Westchester Italian Cultural Center from February – April, 2008. Merelli is 86 years of age and lives and works in Venice. His work first came to the attention of the Center when David Pope, the President and CEO of the Generoso Pope Foundation, happened to see it while he was on vacation in Italy.

Evelyn: Some years ago David Anthony Pope was on vacation in Venice with his wife, saw Merelli’s work and fell in love with it and said one day we’re going to do an exhibition. And then, back in the summer of 2007, Patricia Calce who’s our Director of Programs, was in Italy and she met with Roberto Merelli and discussed the possibility of doing an exhibition.

Carolyn: Roberto Merelli does not exhibit often in America and as such, is not a household name. But he is well known outside of the US.

Evelyn: He’s exhibited in the Venice Biennale, he’s exhibited with Salvador Dali, but he does not exhibit often in America. In fact, there’s only one other gallery in the US that carries his work from time to time. So he’s getting older, I think the idea of having a real exhibition, a one man show in New York was very exciting to him, and so he agreed to do the exhibition.

Carolyn: Some of the challenges of transporting the paintings from Italy to the United States were similar to those of the Ceramica Magnifica exhibit. How many pieces to bring over and which ones? What is the best method of transport? Who are the correct professionals to handle the details? Is there sufficient insurance?

Evelyn: It’s always an experience and yes there were some challenges. Some of the paintings were held up in customs for a couple of days. All of the paintings were ultimately released, but the drama of the story and the excitement of the story was that we didn’t get to pick them up until the morning of the Opening.

Carolyn: That’s an aspect of directing a show like that the average person doesn’t think about.

Evelyn: That’s right.

Carolyn: Of course, this final delay meant that the pieces were picked up at customs, brought to the Center, unpacked, and hung on the same day as the Opening Reception, when hundreds of guests were expected to walk through the door. It’s not for the faint of heart!

Evelyn: I will say that was our first real major exhibition. So we were very excited to bring this Venetian painter, well known in Italy, well known amongst artists and people who are art connoisseurs, but not very well known in New York. It was incredibly well received. He captures the spirit and the light of Venice like no one else we’ve ever seen.

Carolyn: To learn about future exhibits, visit wiccny.org.

Our New Photography Exhibit in Riverdale, New Jersey!

This article also appears on our Italian Journal page.

Our current exhibit of selections from the collection Italy, Through the Eyes of Love is at the Riverdale Public Library in Riverdale, New Jersey (www.riverdalelibrary.org). The exhibit opened with a reception on November 17 and continues through January 16, 2009. A portion of the proceeds from sales will be donated to the Library.

The Riverdale Public Library is an open, light-filled space with several levels. They regularly hold art exhibitions and interesting programs on a variety of topics. Over the summer, Jefferson stopped by the Library and asked if they would display our marketing postcard, since I was a town resident. (Jefferson designed our postcard and it always attracts attention. Here it is:

The staff graciously agreed and Jefferson went on his way. A few weeks later the Library contacted us through our website and asked if we would be interested in exhibiting the photographs at the Library. We were thrilled! They also asked if we would conduct an hour-long program for them on the collection (more on that later!), which of course, we agreed to do. It’s scheduled for December 2 at 7:00 pm.


We had a small window of time in which to install the exhibit, as we had to wait for the previous Library exhibit to be dismantled. Just like in Westchester, we brought in the metal grids for the unframed works (thanks to Matt Locker!) and hung the framed and gallery-wrapped prints on the walls.
The Opening Reception would start in a few hours. As we were working on it, we noticed that the heat in the Library (especially on the second floor) caused the identifying tags on the metal grids to curl. This was an unanticipated complication that needed to be addressed. Jefferson sized up the problem and fixed it by attaching thick stock black paper to the back of each tag. He believed this would work at least through the Opening Reception, and after that we would have time to create a more permanent solution if needed.
Of course, reinforcing the tags was rather tedious and time consuming. We finally finished at 5:30, rushed home, got dressed and returned to the Library in time for the Opening Reception at 6:30.

People started arriving early and kept coming until the Library closed at 8:00. We had invited many of them, and quite a few were strangers to us who had heard about the exhibit and wanted to see it. I use the word “strangers” very loosely because common interests bring people together, and soon we all talking about the enchantments of Italy!

Matting and Framing Photographs

This article also appears on our Italian Journal page.

We receive so many questions about matting and framing that it seemed like a good idea to share our process in an article. We hope it will add to the conversation about how to best enhance photography or showcase any artwork.

On our website, essenceofitaly.net, if you click on the Photography link on the left hand side, you’ll find yourself at the page that lists Regions and Subjects. We’ve added a new Category under the Subjects heading, entitled Custom Framed Prints. This category shows how we’ve chosen to mat and frame a selection of images from the collection, Italy, Through the Eyes of Love.


The photographs can be displayed in a variety of ways. We’ve included smaller size prints in ready-made triple frames, which you can purchase in many stores. In this way, the photographs can be mixed and matched to achieve whatever theme appeals to you; whether it’s subject matter, color, shape or your personal memories.

We’ve also included larger prints, approximately 12x18 inches, that we have had custom matted and framed. When it comes to choosing the right frame and mat, we pair each photograph with what we believe brings alive the color, vibrancy and mood of each image. Sometimes elements of the image itself are extended onto the mats or frames. At other times, the mat and frame emphasize the image that lies within.



I’d like to add a word about matting here. Many people believe that only black or white mats should be used for photographs. I believe this reflects a concern that a colored mat will distract from, rather than enhance, the photograph. However, we’ve never subscribed to this point of view. Although there may be times when a black or white mat best serves the image, we’ve never felt limited to those choices. Instead, we chose each mat color with the same care and specificity with which we choose each frame.


With all of our custom framed works, we use non-glare glass. It’s a little more expensive than regular glass, but is well worth it. Regular glass is highly reflective and this interferes with your ability to view the photograph. Any light source, including sunlight or a television set, will reflect off the glass and create a visual obstacle to the photograph and the mat you’ve chosen. But non-glare glass allows you to enjoy the photograph without strain or interruption.

Here are some examples of our custom frame choices and the reasons behind them:
For Chianca Beachouse, we started with a photograph that is very bright, colorful and intense in its geometry. We chose a mat color that compliments, rather than competes with the colors in the image. This mat also has a geometric design of its own which extends the geometric theme of the image. The frame has a plain design, again so as not to compete with geometric depth of the photograph.


For Benvenuti, we chose a purple toned mat to compliment the colors in the photograph, especially the predominate shades of yellow. The frame is deep burgundy that picks up the color of the pipe that runs vertically down the left side of the image. The frame is also textured in short sections that mimic pipe sections.


For Harvest, we chose a dark grey mat to emphasize the lighter colors of the grapes in the center of the image and also to mimic the dark cantina in which the grapes are stored. The frame is made of gnarled, twisted wood reminiscent of grape vines and bark.


Capri Rocks is a majestic image and its strong, masculine tone is repeated in the mat and frame choices. Here we used double matting in colors that pick up the colors of the rocks themselves and compliment those in the sea and sky. The frame is wide and substantial, mimicking the heaviness of the rocks.

I hope these examples provide a window into the process we use when creating finished works. I hope they help you set your own imagination free. If you would like to discuss possible matting and framing choices for any photograph from Italy, Through the Eyes of Love, please contact us.

Taking Down the Exhibit in Westchester

This article also appears on our Italian Journal page.

Although the exhibit technically ended July 31, 2008 the wonderful staff at the Westchester Italian Cultural Center were in no hurry to take down the exhibit. They allowed the works to remain until mid-September, when we finally began the careful dismantling process. Like all endings, it was bittersweet.

The exhibit had gone extremely well for the Center and for us. It was wonderful to read the comments written in the Visitors Book in the Exhibit Halls. Here are some of them: “Wonderful eye for beautiful scenes. Thanks for this mini-vacation”; “Le fotografie sono meravigliose!”; “Absolutely breathtaking – I feel as if I am there having wine & bread sharing happiness with my friends & loved ones!” We were so grateful to the Center for the opportunity, and they treated us so well throughout the experience, that we donated a 24x36 inch canvas of “Waiting” to the Center.

A narrow totem with 3 display screens stands in the front lobby of the Center.
Jefferson had created a slideshow of selections from the exhibit that played continuously on one of the screens. As the time for removing the exhibit drew near, Evelyn Rossetti, the Center Director, told us that the slideshow was so beautiful that she didn’t want to remove it. She asked if we wouldn’t mind leaving it on display in the totem. Mind?? Not at all! The slideshow had to be reworked because it had announced the exhibit dates. Here is the streaming video version of the new slideshow:



The Center also used my photograph, “Bogliasco Cliffs” for the cover of its Fall and Winter, 2008 Program Catalogue. Bogliasco is a small town near Genoa, in the region of Liguria, on the Italian Riviera. Here it is:


I had the opportunity to give a live radio interview about the exhibit on WGHT - 1500. You can listen to it here.

We had good press throughout the exhibition.

We’re very proud of the exhibit review that appeared in the Westchester County ArtNews Supplement to the Westchester County Business Journal, June 2008:



A wonderful article also appeared in The Herald News, focusing not only on the exhibit but on our collaboration:


The Italian Tribune:

Italy, Through the Eyes of Love, Exhibit is On!

The exhibit continues until July 31 at the Westchester Italian Cultural Center in Tuckahoe, New York.

Click here for directions: http://wiccny.org/contact.html#directions

Public viewing hours during May and June:

Tuesdays: 4:00 pm to 8:00 pm
Wednesdays: 3:00 pm to 6:00 pm, except 6/11
Thursdays: 4:00 pm to 8:00 pm
Saturdays: 2:00 pm to 5:00 pm

In July, by appointment only.

Admission: Free

This article also appears on our Italian Journal page.

Well, ready or not, the big day arrived! Luckily, we were mostly ready. Jefferson & I went up to Tuckahoe early to finish hanging the exhibit. We finished just in time for me to start training the docents at the Center who will take people through the exhibit on a daily basis when I’m not there. The docents take their responsibilities very seriously and asked me thought-provoking questions about the stories behind specific images and my approach to photography in general. I know my photos will be in good hands with them.

By the time the session was over, it was time to get dressed for the opening. Just before 6:00 o’clock, the first groups started coming in. It was a stream that continued for 2 hours. I managed to meet most of them, and it was wonderful to answer their questions and hear their stories about what Italy means to them. Many of them were of Italian descent, but not all. You don’t have to be Italian to love Italy!

Some of the people I spoke with were born and raised in Italy. They shared their childhood memories of large, close families, heavenly aromas from the kitchen and picking grapes from their grandparent’s vineyard. Some were veteran travelers who spoke of Italian vacations that turned into the best moments of their lives. Some focused on the people with whom they had traveled, long passed away but alive forever in heart and memory. To me, this is the true alchemy of Italy, turning strangers into friends.



(Click on the player above to view Jefferson's slideshow. This video introduction is displayed on a large flat screen TV in the atrium between the two Exhibit rooms.)

Our New Photo Exhibit in Tuckahoe, New York!

This article also appears on our Italian Journal page.

We are preparing for an exhibit of selections from my photographic collection, Italy, Through the Eyes of Love, at the Westchester Italian Cultural Center in Tuckahoe, New York (http://www.wiccny.org/). The exhibit opens with a reception on Tuesday, April 29 from 6-8 pm and continues until July 31.

We’re very excited and proud to have been invited to show the photographs at the Center. We’re working with some wonderful people, like Evelyn Rossetti, Executive Director and Anne Marie Annuciato, Director of Events.

The Westchester Italian Cultural Center is associated with the Generoso Pope Foundation. It's the focal point for lovers of Italian culture in the area. They sponsor artistic exhibits (naturally!), Italian films, lectures, cooking classes, language classes, special children’s programs and highlight the wine and culture of particular Italian regions throughout the year.

If you’ve never been to the Center, it’s an elegant and impressive building. After a recent multi-million dollar renovation, it houses exhibit halls, a theater, library, professional kitchen and wine cellar. The architecture is gracefully appointed with careful attention to detail. It’s a feast for the eyes.

There are so many details that need attention and we’re hoping not to miss any! Jefferson designed the banners that will hang outside of the building announcing the exhibit.

He also designed the postcards that will be mailed to Center members. Still to do: design a slideshow of images and text for the electronic totem that stands in the front lobby; design the price list complete with images of each work, create the title cards for each photograph, decide where each work will be displayed, and that’s only what I can remember right now!


We’ll be showing works in various mediums; some will be matted and framed, some printed onto canvas without frames, and some on unframed on photographic paper. The unframed works will be displayed on black metal grid panels.

Our goal is to create a visual environment that invites each viewer into their own personal experience of Italy.

For this exhibit, I had to create a new Artist’s Statement and write my bio. I thought you might like to see them:



Artist’s Statement:

My journey as a photographer reflects my relationship with Italy itself.


I’d never been interested in photography until I started traveling to Italy. For my first few trips, starting in 1995, I didn’t even bring a camera. Although I was happy to share stories about my trips, At that time, I had the sense that I didn’t want to share what I had seen with anyone when I returned; I wanted to keep my visual experience private. I couldn’t explain why. But looking back, I see it more clearly. Those initial trips were my first steps on a personal healing journey. In many ways it was like entering therapy; both wonderfully liberating and at times, deeply painful.

At some point, as I was preparing for an Italian trip, it crossed my mind that if I took pictures there, I would come back with some great images. So, I bought a camera (I’m not kidding; I didn’t own one!) and saw Italy through a lens for the first time. I never expected anyone but me to care about my photographs, so I was surprised by the positive responses they received when I returned home.

The camera became my constant companion in Italy, and it continues to be an integral part of my healing journey. My relationship with Italy is like that of a lover; it brings me great happiness and some of my deepest disappointments.

But I can't imagine my life without it.

My photographs reflect what I value most about Italian life: its subtle surprises, freshness and the constant invitation to consider the familiar in unfamiliar ways. In that spirit, Italy continually invites me to look at myself with new eyes.





Biography:

Carolyn Masone was born in Brooklyn New York to an Italian-Swedish family, where the Italian influence always dominated. Her upbringing in New Jersey was filled with Italian culture; the music, dancing, cuisine, celebrations and strong sense of family. Her father Nicholas, a first-generation Italian-American, spoke longingly of someday traveling to Italy, but never had the opportunity. Nonetheless, the family traveled often and Carolyn's wanderlust was born.

She journeyed to Italy for the first time in 1995 and has never been the same. Enchanted by feeling at home in a place she had never been before, she remains under its spell. Carolyn knew that first trip would change her life; perhaps gradually, but nonetheless profoundly. Over time, her traditional career path took a back seat to more creative professions that would further connect her to Italy. She joined a company that planned weddings in Italy and became a destination wedding planner. Although no longer with that company, she continues to plan weddings for couples from all over the world who dream of marrying in Italy.

Carolyn's photographic collection, Italy, Through The Eyes of Love, has received worldwide attention. They appear in private collections nationwide as well as in Australia, England, France and of course, Italy. Her work has been exhibited in New Jersey, New York and, in 2009, in Lucca, Tuscany.

In 2004, together with Jefferson Harman, they created a venture called Essence of Italy, showcasing her unique perspective on the Italian experience. In 2007, they launched a website, http://www.essenceofitaly.net/, through which Carolyn presents her beautiful photographs and publishes lively tales of her travel adventures. Thanks to the connections she's made through these experiences, she researches, writes and records podcast interviews with interesting people who highlight unexpected aspects of Italian life.

She often returns to Italy to attend various classes, workshops, festivals and to visit dear friends. All the while her camera goes with her, allowing images to speak through the lens to the viewer, evoking emotion, history and dreams.

"If I had to sum up what the photography, writing and interviewing are really about, it's about the journey of setting your dreams free. It doesn't matter what form they take. It's where real joy and deep healing come from." For Carolyn, her photographs truly present Italy, Through the Eyes of Love.

The Mandolin: The Serenade of Italy

This article is a transcript of our podcast that can be found on our http://essenceofitaly.net/ podcast page.

Carolyn: What could be more Italian than sound of a mandolin? Close your eyes and you’re floating on a gondola in Venice, or walking the narrow streets of Naples as the sun sets. Where did the mandolin come from, and how did it become the signature sound of Italy?

Here to answer these questions is the award winning musician, composer and arranger John T. LaBarbera. John has been playing traditional Italian music for over 30 years. He has recorded numerous CDs & composed many film soundtracks. His theater credits include several off-Broadway productions, including Souls of Naples with John Turturro, and his Italian Music & Theater Company, I Giullari di Piazza.

John has just completed a book called Traditional Southern Italian Mandolin & Fiddle Tunes, published by Mel Bay. Complete with a CD, this book is a rare treasure for music lovers. It not only explains the origins and development of the mandolin, but contains an archive of just some of the traditional Southern Italian music John has archived. Many of these pieces were taught only by ear from generation to generation, but never in written form. John T. LaBarbara is the first one to have preserved these pieces in writing for the mandolin.

It’s believed that the Italian mandolin descended from an Arabic instrument called the uod. The uod is a stringed instrument with a rounded back. It was brought to Europe in the 10th century and over the centuries that followed, Europe molded the uod in its own way. The uod developed into the lute and, in Elizabethan times, became a court instrument. Schools of lute music opened throughout Europe, but most notably in Naples and Venice.

In Naples during the 1700’s, the mandolin had a renaissance of its own. Master craftsman like Vinaccia and Calace refined the instrument’s woodworking with an almond-shaped body & a bowled back made from curved strips of wood. They also switched from using traditional gut strings to metal strings. These innovations made the mandolin more durable, louder and increasingly popular. It was well on its way to becoming the unmistakable music of Italy.

John: The mandolin really has that neapolitan sound, that Italian sound. What makes it sound very Italian, also, is this type of picking called tremolo.

Carolyn: In Italy, there was a long tradition of musicians earning their living as barbers. They brought their mandolins, violins & guitars into the barber shops and when they weren’t shaving customers, they played. It was a good idea since the profession kept the musicians’ hands better protected than working as laborers. Also, barber shops closed early enough to allow the musicians to gather in the piazza and play into the night.

John: Barbers were known to play mandolin, guitar and violin. Remember the Barber of Seville?

Carolyn: Yes.

John :Well, he played mandolin. I have a photo that was my friend’s grandfather & he was a barber & he played the mandolin & I have a beautiful photo from 1910 or 1904 of these guys standing there, playing mandolin in their barber suits.

Carolyn: Another key to the mandolin’s popularity was Queen Margarita of Italy, who reigned in the late 19th century. If she sounds familiar to you, it’s probably because the Pizza Margarita was named for her. The Queen was a patron of the arts. She sponsored painters, writers, musicians and founded cultural institutions. She also played the mandolin.

John: Because of that, then a lot of women were very inspired, she was very influential. She inspired a lot of women to take up the mandolin.

Carolyn: From this influence, Italian women formed mandolin orchestras and they played throughout Europe. As Italians immigrated to the United States, the orchestras came with them.

John: I could show you photos of women playing mandolins, in elegant dress, like turn of the century, Victorian era. The mandolin was also very popular up until the 1920’s. I still once in a while meet somebody who says, oh my grandmother played that, or I remember my mother had a mandolin.

Carolyn: What about the mandolin you’re holding right now?

John: This instrument I acquired around 1980, right after I came back from Italy. I had a guitar student, she knew that I play the mandolin, and she had an instrument that was her grandmother’s and she said that I’d like you to have it because nobody plays it.

Carolyn: Wow. So she just gave it to you?

John: She gave me this mandolin. The mandolin is from around 1900, late 1890’s-1900, and was made by the Martin guitar company. They also made mandolins.

Carolyn: Although the mandolin made its journey from the Arab world to the United States, its sound is indelibly associated with Italy. Maybe it’s because Italy loved the mandolin the most.

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