Shrine for Girls, Venice
Solo Collateral Event of of the 56th International Art Exhibition – la Biennale di Venezia
Curated by Ludovico Pratesi, Presented by Brooklyn Rail Curatorial Projects
Chiesa di San Gallo, Venice, Italy
May 6 – November 22, 2015

Although the United Nations passed the Universal Declaration of Human Rights in 1948, women and girls around the world continue to be among the most vulnerable members of our global society. Often facing violence, repression, and enforced ignorance, this young female populace is subjected to a horrifying existence on earth.

Inside the exquisite sixteenth-century Church of San Gallo, where Bill Viola showed in 2007, New York-based conceptual artist Patricia Cronin has created a shrine in their honor. For over two decades, critically acclaimed artist Patricia Cronin has created compelling works, many with social justice themes focusing on gender. Here, she has gathered hundreds of girls’ clothes from around the world and arranged them on three stone altars to act as relics of these young martyrs. Commemorating their spirit, this dramatic site-specific installation is a meditation on the incalculable loss of unrealized potential and hopelessness in the face of unfathomable human cruelty; juxtaposed against the obligation and mission we have as citizens of the world to combat this prejudice.


11 Artists Who Helped Pave the Way to Marriage Equality
July 1, 2015

Exploring her own homosexuality as a theoretical concept, Cronin took on her experience as a married lesbian for her tender and bold Memorial to a Marriage (2002). The bronze sculpture features her and her wife, artist Deborah Kass, locked in an eternal embrace, memorializing their marriage that occurred the day same-sex marriage was legalized in New York. The title qualifies the monument: opposing those that might argue if this is a marriage at all, this is not a memorial to marriage, itself, but to a marriage; the individualization of Cronin and Kass’s lived experience is instrumental to understanding the emotional and potentially political impact of the work.


Marriage Equality for All! #LoveWins
June 26, 2015

Today is a wonderful day for equality, as LGBTQ couples are now able to marry anywhere in the United States just like their heterosexual peers. It is no longer “gay marriage” but simply marriage, which is how it should’ve always been.

As people across the country celebrate with the hashtag #LoveWins, here are three fantastic artworks exploring queer love. The best part is they are all currently on display in New York if you’re in town this weekend for Pride.


Patricia Cronin : 'A silent protest can be quite powerful'
studio international
June 23 2015


Venice Biennale Expands Its Scope
The New York Times
May 8 2015

“In New York, everyone is distracted by the art market and the auction houses,” said the American artist, Patricia Cronin, whose installation, “Shrine for Girls,” is on view in the deconsecrated church of San Gallo, near the San Marco square. “Once you get into the international art world, political art is important.”

Ms. Cronin’s installation poignantly uses piles of clothes to commemorate three groups of what she calls “secular martyrs” — students kidnapped by Boko Haram in Africa, girls raped and lynched in India, and “fallen” women exploited by the Magdalene Laundries in the United States, Britain and Ireland — on the altars of Venice’s smallest church.


Patricia Cronin and the body politic
Financial Times
May 1 2015

About a year ago, artist Patricia Cronin was on a plane bound for Italy when she found herself sobbing through Philomena, the 2013 biopic starring Judi Denchas a woman searching for her son, whom she was forced by nuns at an Irish convent to give up for adoption. Once in Italy, she read about the mass kidnapping of Nigerian schoolgirls by the Islamic extremist group Boko Haram, and, a short time later, about two young female cousins in India found hanging from a mango tree.

“I couldn’t get them out of my head,” Cronin, 51, says of all the brutalised females. “Every day you wake up and it’s another horrible story.”

Back in her Brooklyn studio she was at work on a series of sculptures about the crisis in masculinity, referencing Jesus after he was removed from the cross. But, she recalls, “I thought, really what I should be focusing on are the women and the girls. They really need a shrine. Shrine!”


Patricia Cronin: Shrine For Girls, Venice
The Art Newspaper
May 2015

The New York-based conceptual artist Patricia Cronin is presenting a site-specific work in the church of San Gallo that addresses the issues faced by women around the world, especially in developing countries. For this work, Cronin has assembled hundreds of items of girls’ clothing to symbolize students kidnapped in Nigeria by Boko Haram and girls raped in rural India.


Heartbreaking 'Shrine For Girls' Pays Tribute To Young Female Martyrs Around The World
The Huffington Post
April 14, 2015

"At first, it's deceptively simple," artist Patricia Cronin explained to The Huffington Post. "But then you start to think 'Oh, there really should be a girl inside this hijab.'"

"Shrine for Girls," Cronin's upcoming site-specific installation appears at the 16th century Chiesa di San Gallo, part of the Venice Biennale, starting on May 9. Initially, the piece simply resembles a colorful pile of clothing; garments worn throughout the world. However, the solemn and jarring piece actually honors the young women from around the world whose lives were unjustly cut short.


Artist Patricia Cronin Dedicates Altars to Suffering Girls at Venice Biennale
April 7, 2015

During the Venice Biennale, a special project by the New York-based artist Patricia Cronin will commemorate the women and young girls around the world who face constant violence and repression, especially—but not only—in India and Nigeria.

To create her Shrine for Girls, Venice (2015) Cronin has collected hundreds of girls' clothing items from around the world and arranged them on three stone altars to symbolize relics from young female martyrs.

The central altar will display the vibrantly-colored saris worn by girls in India, as a painful reminder of the three teens who were gang raped, murdered, and hung from trees last summer.


Subverting the "Girlie" Calendar
Ms. Magazine
April 1, 2015

A “girlie calendar” makes one think of men’s lockers, walls of auto repair shops or a military barracks: They’re typically collections of nude or scantily dressed women in provocative poses, designed for the male heterosexual gaze.

But what if a girlie calendar is designed with a lesbian gaze in mind? That sort of subversion is what lesbian poet Mary Meriam has in mind with the title of her poetry collection, Girlie Calendar, and for the Ms. Blog she is excerpting from the book a poem-of-the-month (she began in October and continued in November, December, January, February and March). Meriam is also selecting accompanying artwork for each month from both historical and contemporary lesbian-related images.

April’s artist, Patricia Cronin, creates compelling works in a variety of media, many with social-justice themes focusing on gender and sexuality. Slyly reinvigorating traditional images and art historical forms with contemporary content, her critically acclaimed statue “Memorial To A Marriage,” a three-ton Carrara marble mortuary sculpture of her partner (now wife) and herself, was first displayed before same-sex marriage was legal anywhere in the U.S. An art professor at Brooklyn College, CUNY, as well as a trustee of the American Academy in Rome, Cronin’s works are in numerous collections and she exhibits widely. Her solo show “Shrine For Girls, Venice” is a “collateral event” in the 2015 Venice Biennale.


National Gallery of Art Announces Historic Acquisition of More Than 6,000 Works of Art from the Corcoran Gallery of Art Includes two Cronin watercolors from her Hosmer Lost and Found Series
National Gallery of Art, Washington, DC
February 5, 2015

Earl A. Powell III, director, and Franklin Kelly, deputy director and chief curator, National Gallery of Art, announced today that 6,430 works of art have been selected initially from more than 17,000 Corcoran works in the Gallery's custody to join the nation's collection of European and American art. As curators continue to review the collection of the Corcoran Gallery of Art, the newly accessioned objects will have an immediate impact across NGA's collections and will be particularly transformative for its holdings of American art in all media.


Global Positioning Systems
Perez Art museum, Miami FL
August 19, 2014 - August 15 2015

Global Positioning Systems is the second iteration of Pérez Art Museum Miami’s Overview Galleries, in which selections from PAMM’s permanent collection are displayed alongside loans from important private collections. Consisting of six interrelated parts (titled History Painting, Visual Memory, The Uses of History, Urban Imaginaries, The Contested Present, and Forms of Commemoration), this thematic group presentation explores the intersection between globalization and history. Since the late 1980s, the political and economic forces unleashed at the close of the Cold War have combined with dramatic advances in transportation and digital communications to create an unprecedented degree of interdependency among the nations of the world.


The Classical Nude and the Making of Queer History
Leslie-Lohman Museum of Gay and Lesbian Art, New York, NY
October 18, 2014 - January 4, 2015

The Classical Nude and the Making of Queer History, curated by scholar Jonathan David Katz, investigates the continued centrality of the classical nude over centuries of art making. This exhibition explores how images of the classical past have acted as recurring touchstones in the historical development of same-sex representation, and as such, constitute a sensitive barometer of the shifting constructions of what we today call gay and lesbian or queer culture. The classical past is thus gay culture’s central origin myth, and its representation offers far more information about the culture that appropriates the classical past then it does about that past itself. In tracing this trajectory of the classical nude across history, this show concentrates on four major periods: Antiquity, the Renaissance, the eighteenth and nineteenth centuries, and the modern/contemporary periods.


Jeffrey Deitch Has Big Plans Now That He's Left Los Angeles
the new york times
OCTOBER 2, 2014

In the years before the Manhattan galleries left the quaint cobblestones of SoHo and moved north like so many displaced people to the wide streets of West Chelsea, Deitch Projects was a one-of-a-kind gallery. It opened in 1996 in a garagelike space on Grand Street, and its exhibitions seemed less about the quest for masterpieces than about mashing up art with graffiti, cartooning, video, punk rock and especially performance. In 1997, the Ukrainian artist Oleg Kulik lived in the gallery for two weeks as a caged dog, wearing nothing but a studded dog collar and crawling around on all fours.

To be sure, Mr. Deitch also championed artists who favor more traditional mediums. He gave early shows to painters including Cecily Brown, Tauba Auerbach and Kristin Baker. He supported the sculptors Nari Ward, E. V. Day and Patricia Cronin, the last of whom fabricated a marble tomb for herself and her girlfriend in what was perhaps the first art show to open at Woodlawn Cemetery in the Bronx.


‘Crossing Brooklyn,’ Local Talent at Brooklyn Museum
the new york times
OCTOBER 2, 2014

From left, Austin Fremont, Patricia Cronin, and Deborah Kass, all of Brooklyn, dancing to Nina Katchadourian’s video installation “In a Room Full of Strangers.”


Sylvan Cemetery: Architecture, Art & Landscape at Woodlawn
Miriam and Ira D. Wallach Art Gallery, Columbia University, New York, NY
September 3 - November 1, 2014

Sylvan Cemetery: Architecture, Art and Landscape at Woodlawn coincides with Woodlawn's 150th anniversary celebration, and is an outgrowth of the Cemetery's 2006 gift of its archive—the most complete set of 19th– and 20th–century cemetery records held in the public trust–to the Avery Architectural and Fine Arts Library at Columbia University. The exhibition marks the first time selections from this archive will be displayed.


Exhuming the Artistic Afterlife from One of NYC’s Historic Cemeteries
September 15, 2014

Up in the Bronx, at the end of the line of the 4 train, is a “remarkable museum of American funerary art,” as the wall text for Sylvan Cemetery: Architecture, Art and Landscape at Woodlawn at Columbia University’s Miriam and Ira D. Wallach Art Gallery puts it. That “remarkable museum” is Woodlawn Cemetery, and the exhibition makes a case for it as a major resource of architecture and decorative arts history in New York City.


Til Death Do Us Part
August 28, 2014

"This is the first piece of real estate I bought, and it will be my last,” says artist Patricia Cronin, referring to the plot she purchased at Woodlawn Cemetery in the Bronx. “I have it into perpetuity.” When Cronin and her spouse, artist Deborah Kass, are eventually laid to rest, they—or at least, the walking living—will be within strolling distance of J. P. Morgan, Miles Davis, Duke Ellington, and Celia Cruz.


Designs That Outlived Their Benefactors
the new york times
august 20, 2014

Woodlawn Cemetery, a national historic landmark in the Bronx that turned 150 last year, is celebrating with an exhibition on its spectacular Gilded Age tombs. “Sylvan Cemetery: Architecture, Art and Landscape at Woodlawn,” which opens on Sept. 3 at the Miriam and Ira D. Wallach Art Gallery at Columbia University, will offer a display of ironwork, sculpture, stained glass and furniture from the mausoleums along with records from the cemetery’s voluminous archives, which were transferred to Columbia in 2006.


It Begins With Paper
Catinca Tabacaru Gallery, New York, NY
May 16 - June 15, 2014

Its debut exhibition It Begins on Paper, will feature a group show drawn from artists on the gallery’s roster and beyond, featuring exclusively, and examining the nature of works on paper: its status as the typical first medium employed by an artist, its fragility, its historic use for disseminating ideas and information. Selected works include two large watercolors by Patricia Cronin (a mother of the relationship between feminism and contemporary art) from a series inspired by Dante’s Inferno, in which human figures, made organic by the watercolor process, portray agony and ecstasy in purple and crimson washes.


Look At Me: Portraiture From Manet to the Present
Leila Heller Gallery, New York, NY
Curated by Beth DeWoody and Paul Morris
May 6 - August 29, 2014

The inaugural exhibition, Look at Me: Portraiture from Manet to the Present, spans a vast historical period of 150+ years from Manet to the present, and explores perhaps the broadest and most practiced genre in art history. Throughout time, mankind’s preoccupation with the self - one’s appearance, perception and ultimate identity ‐ has influenced artists to create, and individuals to commission, portraits. Portraits have been an indispensable way of communicating identity, with real as well as symbolic meaning for centuries of art audiences. Look At Me celebrates and explores portraiture in recent history and investigate how artists today are engaging with the broad spectrum of descriptive strategies .


Deja Zing : Patricia Cronin Takes A View From Above In "Luxury Real Estate Paintings"
zing magazine
April 30, 2014

Where is the boundary between art and voyeurism? Patricia Cronin launched a career based on the inquiry of power and gaze when she first showed her “Erotic Polaroids” at David Zwirner in a group exhibit in 1993. The photos depicted various X-rated scenes including men subjugated as erotic objects in S&M games in one sequence as well as queer women engaged in sexual acts with a Madonna cardboard cutout, from the perspective of the artist herself as a participant.


Ghosts in the Machine Lecture
Massachusetts College of Art, Boston, MA
Wednesday April 30, 2014, 12pm

New York based artist Patricia Cronin will present a lecture on her recent work titled Ghosts in the Machine. Event is open to the public.

Patricia Cronin's Recent Publications Honored
Brooklyn College, Brooklyn, NY
Tuesday April 29, 2014, 12-2pm

Patricia Cronin's two recent publications were honored at the Brooklyn College Library's Annual Book Party celebrating Brooklyn College faculty authors.

Memorial to a Marriage featured on Chelsea Handler Show
Chelsea Handler show
April 2, 2014

Ghosts in the Machine
Victor Building 750 9th Street, 3rd FL
Smithsonian National Portrait Gallery, Washington D.C.
Thursday March 20, 2014, 12pm

Please join us at Noon on Thursday, March 20, in the National Portrait Gallery’s boardroom for a presentation by New York based conceptual artist Patricia Cronin. She will be speaking about her latest body of work “Ghosts in the Machine.”

Bring your lunch to the National Portrait Gallery’s boardroom on the third floor of the Victor Building at 750 9th Street NW for the next of our “occasional lunchbag” talks sponsored by the Archives, National Portrait Gallery, and Smithsonian American Art Museum. Non-Smithsonian visitors to the building will need to bring a picture ID and sign in at the security desk in the lobby. Tea is provided. Contact Dorothy Moss at if you need special accommodations.

The Last Brucennial
Vito Schnabel & Bruce High Quality Foundation, NEw York, NY
March 7 - April 4 2014

Patricia Cronin included in The Last Brucennial Vito Schnabel & Bruce High Quality Foundation New York, NY March 7 - April 4, 2014


Artist Patricia Cronin Confronts the Present with the Past
National Trust for Historic Preservation Blog
February 7 2014


Patricia Cronin and Deborah Kass were Honored
CUe art Foundation gallery
Friday January 31 2014

Patricia Cronin and Deborah Kass were honored at a Benefit Baby Shower for Paula Vogel's "And Baby Makes Seven", a comedy opening soon at the New Ohio Theatre.


The Fine Art of Collecting Demystified
Express Cincinnati
February 2014

We're not far into the new year, but by now many people's resolutions, including mine, have fallen apart. Yet there's one I always make, and keep: to buy at least one piece of art during the year. That might seem oh-so-easy for someone who writes about and makes art.

It's not.


Patricia Cronin : Croninatrix
BOOK Magazine
January 2014

New Yorker Patricia Cronin is a rare example of a female artist. We have discussed with her why such women are indeed a rare example and besides have talked about Riot Grrrl movement, about the role of the creative heritage and about life of a housewife as a comprehended choice.

Having started to remember all the creative units among women, one can quickly exhaust his or her memory without even leaving the circle of musicians: Yoko Ono, Kim Gordon, Laurie Anderson - and the memory is beginning to slip . Persistently tries to challenge the status of our world as the men’s world - even in the aspect of art - Patricia Cronin , an artist, photographer , sculptor, Bachelor of Rhode Island College , Master (and now - a teacher) of Brooklyn College and former student of a few other schools. Dominant direction of her work is questioning the place of women in contemporary art, the role of her body, her sexuality and homosexuality.


Jeffrey Deitch Curates Jeffrey Deitch:
The Return of the Art World’s Most Essential Zelig
New York Magazine
January 12th, 2014

“This is a crazy thing we did with Patricia Cronin,” he says, turning to a sculpture of two women in bed. “She wanted to have a show here. I said, ‘I’ve got a better idea. It shouldn’t be a show in a gallery. Let’s buy a cemetery plot.’ She said, ‘Well, I want a gallery show.’ ‘Trust me,’ I said. ‘This is much more interesting. It’s permanent.’ ” It’s a grave site for her and her partner in Woodlawn Cemetery. “It’s really transgressive to have in a cemetery. And this is now like one of the major stops on the Woodlawn Cemetery tour, with Miles Davis’s grave.”


Selections from the Sara M. & Michelle Vance Waddell Collection
Art AcAdemy of Cincinnati
1212 Jackson Street, Cincinnati ohio
childlaw/convergys gallery
January 6th - february 3rd, 2014
reception final friday january 31st 2014

The Art Academy is proud to announce a survey of work from the acclaimed and generous Sara M. Vance Waddell Collection. This exhibition is constructed to depict the main focus of their collection: challenging international work with political conviction.

Artists included: Catherine Opie, Cindy Sherman, Jenny Holzer, Patty Chang, Deborah Kass, Carolyn Mazloomi , Andrea Bowers, Delia Brown, Sue Williams, Damien Hirst, Betty Tompkins, Annie Sprinkle & Elizabeth Stevens, Patricia Cronin, Elizabeth Murray, Louise Bourgeois, Ghada Amer, Carolee Schneemann, Hannah Wilke, Chakaia Booker, and Zhang Huan.


Patricia Cronin elected President of the Society of Fellows
American Academy in Rome
december 2013

Patricia Cronin elected President of the Society of Fellows and is now a trustee of the American Academy in Rome.

I fantasmi di Patricia Cronin alla Centrale Montemartini
Il Messaggero
November 11th 2013

L’ultima ghostbuster è un’artista Americana del Massachusetts, venuta a Roma a miracol mostrare negli importenti spazi museali della Centrale Montemartini. Patricia Cronin non ha il fisico statuario di Sigourney Weaver ma una grazia luminoso e gentile e i misteriosi ectoplasmi lei non li cattura con raffinate tecnologie custodite nel suo zaino protonico; no, li dipinge e stampa su pannelli di seta translucida esibiti sui fondo nero dei giganteschi motori diesel dell’ex fabbrica. E, come se non bastasse, li fa dialogare nella Sala Macchine con le statue neoclassiche di un’altra artista americana scomparsa all’inizio del ‘900, Harriet Hosmer, da lei riscoperta e autrice della Tomba di Judith Falconnet nella Chiesa di Sant’ Andrea delle Fratte. È un salto mortale triplo, per esser chiari, questa personale Patricia Cronin. Le Macchine, gli Dei e I Fantasmi mirabilmente curata da Ludovico Pratesi e promossa da Roma Captiale (Musei Capitolini, Centrale Montemartini, in via Ostiense 106 fino al 20 novembre) sia per l’idea audace e insolita che per l’esito della relizzazione che, anziché degenerare in un clamoroso quanto probabile fiasco, le dà lo status del delitto perfetto. Sottolinea Pratesi “Queste opere sono fantasmi, hanno una presenza immateriale. Le immagini fluttuano nello spazio, creando e proponendo un nuovo dialogo tra il tempo, la memoria e il desiderio. La loro collocazione in tutto il museo crea un forte dialogo tra passato e presente, l’archeologia e l’industria e, naturalemente, l’arte contemporanea”.

Come Together: Surviving Sandy
industry city
220 36th Street, Sunset Park, Brooklyn, ny
October 20th to december 15th 2013

To commemorate the one year anniversary of Hurricane Sandy—and the resiliency of New York City’s arts community, which was hit especially hard by the storm—the Dedalus Foundation, the Brooklyn Rail, and the Jamestown Charitable Foundation join with Industry City Associates to present a nearly 100,000 square foot exhibition entitled Come Together: Surviving Sandy, Year 1. The exhibition will take place at Industry City, a hub of creative manufacturing and innovation in Sunset Park, Brooklyn. Centered on the work of artists directly affected by Sandy, the exhibition will also feature work inspired by and referring to the storm, along with work by artists who were invited to participate in the spirit of solidarity. In addition, the two-month exhibition will include musical performances, poetry readings, film screenings, and other cultural events. The Brooklyn Rail’s radio partner, (the radio station of the Clocktower Gallery), will provide official radio coverage and music selections for the exhibition.

Industry City has been involved with Hurricane Sandy relief since Sandy hit. At the time of the storm, Industry City Associates donated the use of 18,000 square feet of space to volunteer conservators who worked on the recovery of hundreds of works of art.

The Unsinkable Art World Interview Magazine
October 2013

Around this time last year, Hurricane Sandy struck New York, causing massive, well-documented devastation. The art world was hit particularly hard. Water rose up to Chelsea, flooding galleries and decimating irreplaceable archives and artworks. Red Hook, a Brooklyn neighborhood dense with artists' studios, was almost completely submerged. Artists lost their space, their tools, and their work. But no one gave up—or even considered that an option.

The Dedalus Foundation's expansive show "Come Together: Surviving Sandy, Year 1," up now at Industry City, commemorates the tragedy—but more importantly, serves as a reminder that the aspirations of New Yorkers, art-world denizens and not, won't be easily washed away. "I didn't want to make the show somber," says curator Phong Bui, who is the founder of the non-profit arts and culture journal The Brooklyn Rail. "We're celebrating the resilient spirit of artists."


Patricia Cronin and the Ghosts of Rome Past
American Academy in Rome
October 22, 2013

Patricia Cronin, FAAR’07, was back in Rome this month for the opening of her new exhibition, Machines, Gods and Ghosts, at the Centrale Montemartini Museum on via Ostiense. The show, which runs from October 10 to November 20, was curated by Ludovico Pratesi and constitutes the first exhibition of contemporary art to be held in this remarkable space. A panel discussion, hosted by the American Academy on October 7, offered important critical perspective on the show and members of the academy community turned out to demonstrate their support for the initiative at its opening reception two days later.

Cronin is a Professor of Art at Brooklyn College City University of New York whose work has been exhibited widely in Europe and America. She is an artist with a strong commitment to social justice issues, particularly gay marriage rights and women’s history. Much of her work engages with memory or contemplates the role of remembrance and memorial. Her work has found its way into several permanent collections including the Corcoran Gallery in Washington, DC, Deutsche Bank in New York, and the Gallery of Modern Art in Glasgow. Most recently she has had solo exhibitions at the Ford Project Gallery in New York and the Newcomb Art Gallery of Tulane University in New Orleans.


In mostra Patricia Cronin Con sei opera monumentali
la Repubblica
October 20, 2013

Sei opera monumentali, stampate su dei pannelli di seta traslucida inseriti, in modo suggestive, nello spazio di archeologia industrial della Centrale Montemartini. La mostra dell’artista Americana Patricia Cronin “Le Macchine, Gli Dei e I Fantasmi”, curate dal critic Ludovico Pratesi, si potrà vistare fino al 20 novembre. Le sie immagini, create appositamente per lo spazio industrial del museo, sono ispirate alla recente serie realizzata dall’artista e dedicate all rescoperta dell’artista neo classica Harriet Hosmer, autrice della tomba di Judith Falconnet nella chiesa di Sant’ Andrea delle Frattea Roma.


Dedicato a te, Harriet Hosmer
Corriere Della sera
October 11, 2013

Operazione artistica concettualmente interessante, e oltretutto realizzata in un ambiente, la vecchia e dismessa centrale elettrica Montemartini di via Ostiense, da tempo trasformata in museo di sculture antiche, talm ente straordinario che qualsiasi cosa ci metti, di contemporaneo o meno, farebbe, come si dice in questi casi, un figurone (il primo a consacrarla cinematograficamente, l'ex Centrale, fu il regista turco Ferzan Ozpetek nel suo film «Le fate ignoranti», dopodiché fu/è una sequela pressoché ininterrotta di set, location, operazioni site specific ecc).

E nel museo che arreda, tra macchinari originali d'archeo-industria e pezzi di statuaria romana, è ora la volta di un artista americana non notissima in Italia, Patricia Cronin, classe 1963, del Massachusets, che ha da poco inaugurato in questi spazi una sua personale dal titolo «Le Macchine, gli Dei e i Fantasmi», curata da Ludovico Pratesi (fino al 20 novembre, tel. 060608, martedì-domenica 9-19). In sostanza, Cronin ha creato e collocato qui sei opere, acquarelli stampati su pannelli di seta traslucida, fluttuanti, intitolate «Ghosts» (fantasmi, appunto) e che in effetti sembrano evocare degli ectoplasmi.


Patricia Cronin "Machines, Gods and Ghosts"
Centrale Montemartini, Musei Capitolini, Rome
October 9th to November 20th 2013
Opening: Wednesday October 9th 2013 at 6PM

From October 9th to November 20th 2013 in the suggestive rooms of the Centrale Montemartini in Rome will be held an exhibition of Patricia Cronin, "Machines, Gods and Ghosts": a new collection of works of the American artist, specially created for the museum.

Six monumental structures printed on translucent silk and inserted in one of the most extraordinary sites of industrial archeology, the Centrale Montemartini, first electric power plant in Rome, where since 1997 an important part of the archeological collection belonging to the Capitolini Museum is located.

Patricia Cronin, FAAR'07, Ludovico Pratesi and Peter Benson Miller discussion in English and Italian
American Academy in Rome, Via Angelo Masina, 5
Monday 7 October 2013 6:30pm

The Director of the American Academy in Rome
Christopher S. Celenza, FAAR'94
requests the pleasure of your company at a conversation between

Patricia Cronin, FAAR'07, Ludovico Pratesi and Peter Benson Miller
discussion in English and Italian

Monday 7 October 2013
at 6:30pm
American Academy in Rome, Via Angelo Masina, 5

on the occasion of the exhibition Le Macchine, Gli Dei e I Fantasmi
at the Musei Capitolini Centrale Montemartini
on 9 October 2013 at 6pm