Show The Graduate Center Menu
M. Antonella Pelizzari
Campus Affiliation: Hunter College
Degrees/Diplomas: Ph.D., University of New Mexico, 1998
Research Interests: 19th- and 20th- Century History of Photography

Professor of 19th- and 20th- Century History of Photography

Professor M. Antonella Pelizzari's research in the history of photography focuses on issues of cultural representation and the intersection of photography with politics. She was curator at the Canadian Center for Architecture where she organized the exhibition Traces of India (2003), receiving the Historians of British Art Book Prize from the College Art Association, and has recently completed a book on Photography and Italy (Reaktion Books, 2010), which looks at this country's nationalism and modernity in relationship to photography. She has contributed to several anthologies on 19th- and 20th- century photography, and has published essays in scholarly journals such as History of Photography, Visual Resources, Afterimage, Casabella, Photography and Culture, Perspectives. She is on the editorial board of the journal History of Photography. She is currently editing a volume on the dialogue between photography and architecture and is working on a new book on photomontage in Italy in the 1930s.


 “The Utopias of Italian Abstract Painting, 1910s-1950s. A Contested History,” in Painting in Italy 1910s-1950s: Futurism, Abstraction, Concrete Art, Turin: Umberto Allemandi; New York: Sperone Westwater Gallery, 2015

 “Make-believe: Fashion and Cinelandia in Rizzoli’s Lei (1933-1938),” Journal of Modern Italian Studies, Vol.20, n.1., 2015, 34-52

“Futurist Photography: Tato and the 1930s,” in Vivien M. Greene, ed., Italian Futurism, 1909-1944. Reconstructing the Universe, exh. catalogue, New York: Solomon R. Guggenheim Museum, 2014

 “Lynne Cohen and the Art of Understatement: Letting the World Speak for Itself,” in Nuria Enguita Mayor, ed., Lynne Cohen, Madrid: Fundacion MAPFRE, 2014

“Bruno Munari’s Light Games,” Aperture, 212, Fall 2013, 114-121
 “Between Two Worlds: The Art of Luigi Ghirri,” Artforum, April 2013, 206-211; 28

 “Un Paese (1955) and the Challenge of Mass Culture,” √©tudes photographiques, 30 (December 2012), 116-140

Editor and Curator of Peripheral Visions: Italian Photography in Context (1950s-Present) - Hunter College, February-April, 2012

 “Intersection between Photography and Architecture,” special guest-edited issue, Visual Resources. An International Journal of Documentation, 27:2 (June 2011), 107-112

 “Gio Ponti: Discorso sull’arte fotografica (1932),” Visual Resources. An International Journal of Documentation, 27:2 (June 2011), 146-153

 “Towards an Impossible Closure: Susan Meiselas’ In History,” Photography and Culture, 2:2 (July 2009), 207-212

Photography and Italy. London: Reaktion Books, 2010.

"Novellas as Allegories of the Self," in Michele Penhall, ed., Desire for Magic: Patrick Nagatani. University of New Mexico Art Museum, 2010.

"Nouvelles pistes conceptuelles entre la photographie et l'architecture," Perspectives. Actualites' de la recherché en histoire de l'art. 4, 2009.

Editor and Curator of Traces of India: Photography, Architecture and the Politics of Representation. Montreal and New Haven: CCA and Yale Center for British Art, 2003.

"Retracing the Outlines of Rome: Intertextuality and Imaginative Geographies in Nineteenth-Century Photographs," in Joan M. Schwartz and James R. Ryan (eds) Picturing Place: Photography and the Geographical Imagination. London and New York: I.B.Tauris, 2002.

"An Exhaustless Store for the Imagination to Feed Upon. Reflections on American Art and Photography," in Stephan Koja (ed.), America: The New World in 19th-Century Painting. Munich: Prestel, 1999.

"Pompeo Bondini: Della Via Appia (1853)." History of Photography. 20:1, Spring 1996.