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FLORENCE BETWEEN SKY AND EARTH FUA student exhibition kicks off a new season for Corridoio Fiorentino. On September 21 from 6 pm to 9 pm, the School of Digital Imaging and Visual Arts at FUA celebrated a double inauguration - the opening of the student photography exhibit Florence Between Sky And Earth as the first show in the brand new Corridoio Fiorentino exhibition space. Recently relocated to Corso de’ Tintori 21, the Corridoio Fiorentino gallery is now housed under the historic archways and in the corridoio of Palazzo Bombicci Guicciardini Strozzi. The photography vernissage featured the work of two students in the Fall ‘17 intermediate level Landscape and Archi-

by Blending Staff

Photos by Jennifer Persichilli and Breanna Black

tecture Photography course, taught by professor Marco Gualtieri. Challenging the cliché of Florence as the picture-perfect Renaissance city that adorns postcards, the exhibit seeks to explore the metropolis from unusual angles. The artists adopted similar, yet juxtaposing techniques to achieve this goal – one by turning her gaze up, the other by pointing her camera down. Jennifer Persichilli, from Endicott College, entitled her collection of photographs Shape City, searching to reveal the contrast of colors and the geometric and architectural

forms – criss-crossed scaffolding, rectangular lampposts, and diagonal shadows - of Florence as seen from below. In Mirrored, Breanna Black of the University of Texas at Dallas, took advantage of the recent rain to capture reflections of Florence in the puddles that collected in the streets. “To most tourists, a rainy day in Florence ruins the ideal of this always-sunny Tuscan city that they have in mind. On the contrary, I was constantly checking the weather forecast, hoping for rain so I could go back out and photograph Florence in these reflections,” Breanna shared with the guests in attendance at the event. The dual inauguration of both Florence Between Sky and Earth and the new Corridoio Fiorentino space was made possible thanks to collaboration among various FUA departments, including students in hospitality, culinary, photography, and public relations courses.

Florence Between Sky and Earth will remain on display at Corridoio Fiorentino until October 18. Photo by Gina Valentino


by Katherine Wei

Gallery and Exhibition Curating Experiential Learning student Katherine Wei had the opportunity to interview Lorenzo Bonamassa, the next artist to be featured in the Ganzo gallery space. His exhibit, PUNK RENAISSANCE, will debut on Wednesday, October 4 at the AperiArt event in via de’ Macci 55. “Lorenzo, thank you so much for coming here today. It is a pleasure to have this opportunity. Could you start by telling us about your background and growing up?” “Sì! My family is originally from southern Italy. I am 40 years old, am married and have two young children. I graduated with a degree in Medicine and Surgery in 2003 and went on to specialize in Psychiatry, completing that in 2007.” “You have accomplished so much. You must be very dedicated to your profession.” “Yeah, you could say that, but there are other things that also inspired me growing up as well. Between ages 16 to 19, I devoted myself mainly to comic book design and pastels on paper and cardboard. I began to seriously revisit this old interest in drawing in 2004. This motivated me to take private lessons on the figure and oil painting.” “And what did this renewed interest in an old hobby lead to?” “Being a self taught artist, of course!” (chuckles) “And as a self taught artist, do you think there are any artists that influenced you or your work?” “Yes, definitely. Francis Bacon, Caravaggio, and Magritte.” “All quite different from one another! How would you describe your own work?” “Well, critics have described my work as Punk-Expressionist, and I do have influences from that as well. I am inspired by styles from American punk, English punk, and all punk from the 80s. Street art from Italy also captivates me.”


“And what about your medical profession? How does that fit it?” “Artist by night, medical doctor by day! It’s quite liberating for me to create work because it allows for me to displace the violence and emotions that people share with me as a psychiatrist. My own art is my therapy.” “That was a very honest answer, thank you.” “Yes, and generally, art does reassure people too. I think it is very beneficial to everyone as well.” “I’ll take your word for it. How do you feel about the Renaissance?” “I have a bad relationship with Renaissance.” (Chuckles) “I dislike that contemporary artists in Florence get lost in the shadow of the Renaissance; the heritage is too much for today’s artists to compete with.” “That makes sense. As an artist, you must fight this.” “Sì.” “How do you create art? Do you have a specific process or method that works for you?” “I work at night, and I love doing art. I manipulate the canvas, creating holes and pockets, combining two canvases, whatever creative thing I can think of. Psychology plays into this as well, existentially with meaning. There are hidden meanings.” “Can you elaborate on that?” “The meanings are there, grounded in reality. I don’t want to leave anything too abstract, it always shows something meaningful.”



“Are there any themes that reoccur throughout your work?” “Society. Technology. Problems within the individual and of the world. Very large, a bigger picture.” “And what are the problems of the individual and the world, in your opinion?” “Capitalism, and the death of emotion. We are walking robots that produce work. There is a certain emptiness, I feel, in people due to lack of social connection. The poverty of capitalism, if you will.”

“Everything changes, and everyone should be mentally ready to adapt, but also [to] fix the system in society, be careful of what we're adapting into. Everything is connected, as well. I wish to see people mentally combine the past and present, to renovate art. Innovation is finding new solutions through research and experimentation.” “Very wise. We learned so much about you, and you’re an accomplished doctor and painter indeed. Any last thoughts?” “We need an avant-garde in Florence!”

ART The students in the Fall ‘17 Travel Writing course were asked to examine the concept of identity as a work-in-progress by confronting themselves with Michelangelo’s unfinished David-Apollon statue in the Bargello Museum.


It can take a lifetime to discover one’s true identity, but in the case of Michelangelo’s David-Apollon sculpture, the same unanswered question has been asked for centuries: who are you? Male, yes. Significant to art history, yes. A representation of Italian Renaissance values, yes. However, the elements that would identity the sculpture as David from the Bible or sungod Apollo are ambiguous. Why do we focus on trying to pinpoint the precise historical identity of this sculpture? In today’s society, we deem it necessary to put a definite label on everything ranging from people to places, and, in this case statues, leaving no room for grey area. What might it add, if we knew who the sculpture was originally intended to represent? Maybe a few more precise words in a textbook or a museum description? Or a less interpretative

by Celia Gray Photo courtesy of the author

narrative for the sculpture that battles between two identities? Not much else would change. The white marble would still gleam a comforting tone of softness, and the expression of graceful contemplation would still captivate museum visitors, giving more of an insight into the famous artists’ mind than a historically accurate identity of the sculpture would. So, remaining a mystery isn’t a bad thing, David-Apollon. You shouldn’t feel as if you must expose your entire self to someone the first time you meet them, as museum visitors expect you to. As Michelangelo often left his works non finito, I can’t help but think that we as people are never really finished either, even after death.



Statues offer a particular opportunity to fully consume a piece of fine art. Yes, a painting can come alive and you can figuratively fall into one you really love. However, you can encircle a statue, observe it from all angles, and watch as the shadows shape it. It seems greedy to want every bit of an art piece, but how else are you to fully meet this stranger? As you observe the texture of its skin, or the curve of its nose, think about the sculptor. Think about what it is they wanted to leave here for you to find. Because as any artist will tell you, art has a purpose. Even better, as the non-artist, it is your responsibility to figure out what the purpose is. Along with some of our world’s most important art works, Michelangelo left behind a good amount of unfinished pieces. One of these is housed in the Bargello museum in Florence, and has been named “David-Apollon.” The reasons he chose to abandon it are unclear, with experts offering both political and artistic explanations. What intrigues art lovers around the world, and has sparked a debate or two, is the enigma of whether the statue was meant to be David or Apollo, hence the dual name. When I first walked into the Bargello, I was drawn straight towards this statue. I knew of the debate and immediately 4

by Chrystalla Christodoulou Photos courtesy of the author

started to consider the evidence. I decided it was Apollo. I started walking away before realizing that I had fallen into a trap. I’m quite competitive, so it makes sense that I would seize any opportunity to “solve” a puzzle. Even if I am no expert, making a decision for myself gave me immediate satisfaction. In doing that, I almost lost the opportunity to really meet this statue. I walked back and fully observed it. I encircled it. His body, still streaked with what I later found out are chisel marks, is unpolished, imperfect. His foggy face, with his sharp nose the only strong feature, gives him a solemn expression. I decided that the expression was a sarcastic one. He was amused! He was holding back laughter as he watched the whole world obsess over his identity. I laughed with him. It’s true, the world loves categories. Strangers want to know what your deal is, and would like your shoes and occupation to tell them all your deepest secrets. An elementary teacher cannot also be in a punk band, and it is your time, young students reading, to choose the one mold you will fit in for the rest of your life. The truth is a little more complicated. We all hold our own chisels, and only we know where our statue is hidden. The multidimensionality of identities is awe inspiring and everyone is entitled to a complex personality. So, before you inevitably google the David-Apollo and try to make a decision of your own think about this: None of us are Michelangelo, so it is our responsibility to give meaning to his work. If anything, let the David-Apollo stand proud and unfinished as a symbol of the billions of unfinished art works walking around every day.



FOOD & WINE Since Spring ‘17, the students enrolled in Advanced Italian contribute articles to the Blending publications in the Italian language. We hope our Italian speaking readers enjoy this piece on the Sant’Ambrogio market.

MERCATO SANT’AMBROGIO: MANGIARE A BASSO COSTO Ci sono così tanti ristoranti a Firenze che ci vorrebbero anni per provarli tutti. Mangiare fuori può essere costoso, e se si è studente o viaggiatore a basso costo è importante trovare posti dove si può mangiare bene senza spendere troppi soldi. Se cercate un’esperienza divertente ed economica raccomando il mercato di Sant’Ambrogio. Il mercato non è un tipico ristorante. All’esterno ci sono venditori di verdure, piante, vestiti, carne, formaggi e pane. Le bancarelle circondano un grande edificio che è la sede dei venditori di pesce, pasta, carne, e molti altri prodotti. Ci sono anche diversi bar e un piccolo ristorante dove servono insalate fresche e molti altri piatti. Il mercato è aperto ogni giorno da lunedì a sabato dalle 7.00 alle 14.00, perciò non è possibile cenare lì ma si può comprare qualcosa da preparare a casa. Mi capita di frequentare il mercato quasi ogni giorno

by Marcella Apollonia

a pranzo. I commercianti sono molto simpatici e alcuni mi riconoscono già e mi danno assaggi di formaggio e salumi. Tutto è economico e venduto al dettaglio. Non ci sono troppi turisti e non è mai sovraffollato. Per pranzo di solito compro prosciutto, formaggio e pane. Se non voglio mangiare un panino compro un’insalata già pronta. La mia preferita si chiama “ insalata di baccala'”. Il baccalà è merluzzo sotto sale e viene preparato in molti modi diversi. Questa insalata è preparata con pomodori, cetrioli, olive, cipolle e carote. Si possono trovare anche lasagne e altri tipi di pasta. Se si vuole cucinare la pasta da sé si può comprare pasta fresca. Fondamentalmente al Mercato di Sant' Ambrogio si trova tutto ciò di cui si ha bisogno. Vi consiglio di andarci per tutte le vostre spese!



by Jenny Olivero Photos courtesy of the author

What cities first come to mind when you dream of traveling to Italy? Florence, Rome, and Venice tend to be the most popular tourist destinations. But have you ever heard of the small port town of Livorno? Just an hour outside of Florence located on the Tuscan coast, this rough-around-the-edges city is often overlooked by the average tourist. However, there is much more to this unique city than what first meets the eye. Livorno’s societal makeup and culture are quite unique. A network of canals run through the city and unite the town to the main port, one of the largest Italian ports on the Mediterranean Sea. Vibrant orange and white architecture lines the waterway and locals can be spotted exploring the romantic canals by boat in this laid-back Venetian-style town. Substantially developed under the guidance of the Grand Duke of Tuscany, Ferdinando I de’ Medici in the 16th century, Livorno was named an “ideal city” of the Renaissance by the Medici family for its cosmopolitan, multi-cultural nature. In fact, Livorno is known for being an international trading hub, bringing in large populations of immi-

grants including Jewish, Armenian, Dutch, English and Greek populations - since it was elevated to city-status in 1606. In order to promote growth while establishing the city, the Medici rulers passed a series of laws called the Leggi Livornine, which invited people of every race, religion and background to populate the city. This led to the creation of a vastly diverse population of natives and immigrants with unique customs that are still very apparent in Livorno today. Visit the town and you will be greeted by easy-going locals with many different passions and backgrounds. Whether its talking with a local fisherman about the day’s catch or 5

waving to a stranger sunbathing on a boat in the canal, the Livornesi are open, friendly and willing to chat. The slow-paced port town is a refreshing contrast to the bustling tourist cities most commonly visited. So, if you’re ever traveling along the Tuscan coast be sure to stop by this charming city to enjoy a taste of its diverse Italian culture.


OUTSIDE OF MILAN FASHION WEEK Most people have heard of Fashion Week whether they are into designer fashion or not. Fashion Week events are the largest events of the year for the fashion industry. Editors, models, and celebrities all jet to New York, then to London and then Milan to see the latest trends strut down the catwalk. It all sounds so glamorous, but what goes on outside the fashion shows themselves? Who are all those people standing on the sidewalks, talking on their phones, trying to find their invitations? What is that like? For a fashion major like myself, being outside a fashion show is the next best thing when you can’t get into one. On a Sunday, I travelled from Florence to Milan during Milan Fashion Week, hoping to sneak into a show if possible, but mostly just to witness the atmosphere and breathe the excitement and buzz in the air. After all, everyone who was fortunate enough to get in to watch a show eventually has to come out of the venue,


by Jordan Moorhead Photos courtesy of the author

and that’s where another kind of magic happens. Individual styles, paired with the hottest trends are showcased right there on the streets. Designer labels still flash all across the crowds, like Balenciaga, Prada and Gucci. I noticed many different looks, but my favorites are always the craziest. The ones that when seen on a hanger often make people gasp, “Why would anybody wear that?!” But then someone (the right someone) does, and it’s unbelievable. The fashion community has a world of their own, and it’s easy to spot these fashionistas when walking around the city because they are dressed to the nines. I’ve never experienced anything like it before, and it reminded me why I fell in love with fashion in the first place. Expression, individuality and flair are what high fashion is all about; the street style in Milan showcased just that.




As we welcome a new season, we also welcome a new look of the month! This month’s look features two outfits, both inspired by the palette of the fall season. Our first model is pictured wearing a grey and green cardigan with a brown leather purse, both by Salvatore Ferragamo, along with slip-on heels by Nine West, and pink sunglasses by Gherardini, from the vintage collection here at FLY. The look is completed with a straw fascinator hat made by FUA student Anja Mertz. This

by Casey Huang, Rutendo Karikoga, and Derek McCoy Photos courtesy of Derek McCoy Modeled by Casey Huang and Rutendo Karikoga

look truly channels Florence, with every article except for the shoes locally produced. Our second look features a burnt orange parka from 'Plantation' by Issey Miyake, a matching straw hat made by FUA student Emily Russell, a handmade leather clutch created by the model, Rutendo Kariloga, and high heeled sock boots from the model’s own closet. While the first look is upscale and chic, the second is a bit more practical, but both are great for getting into the swing of fall. 7


INVESTIGATING GENIUS: A NIGHT AT THE MUSEUM Uffizi Live is a series of live performances hosted by the Uffizi Gallery held within the museum’s halls and rooms. On September 12, I attended the dance-infused play titled “Tre noccioli del Duecento” about the childhoods of three of Tuscany’s most renowned painters: Giotto, Cimabue, and Duccio. It was performed in a room dominated by three grand Madonna and Child panels, each done by one of the three painters. While looking around, I became slightly annoyed at a woman who was speaking loudly, before I realized she was actually one of the performers, and the play had begun. “In media res” takes on new meaning when the act starts right in the middle of a crowd. Throughout the play, the actresses made direct contact with us; a shove or stroke were both fair game. The three women who starred in the play each spoke one language: French, Italian and German, none of which I am fluent in. The three languages blended into white noise as I focused on the visuals of the play. Dance was used by the German woman to initiate two metamorphoses essential to the story. When after the show I asked her about the power of blending dance in different spaces, the actress responded, “For me, dance needs to start in some context. That might be social, educational, artistic. There has to be a space for it to grow in the real world, with concrete movement and realistic facial expressions before I can enjoy its raw form.” While the other two women read aloud, the German artist began to dance, mimicking a child’s curiosity and fear. While

by Chrystalla Christodoulou Photo courtesy of the author

the other two mocked her initially, they eventually imitated her. Impressive, how they explored the facility with which people will glorify something they previously “othered” and condemned. The tone shifted as the women ran around the room, having turned into child versions of the artists they were admiring earlier. The connection made between public figure and fan was intriguing, amplified by the direct contact they were making with their audience. The second metamorphosis came when the German began hugging herself as though a sudden breeze hit her. The other two followed suit. At one point their bent arms extended a little, as if they were holding a baby. With this sequence they became motherly figures, specifically, the artists’ mothers. It was at this point that I realized they had the same lines. I heard the word genius in all three languages: genio, genie and Genie. As the three mothers echoed each other in bragging about their sons, I thought about the universality of certain things, like the complexity of motherhood. Towards the end, they each pulled a blue scarf from their handbags and delicately began to handle it. They looked back at the three panels and settled the scarves around their head and shoulders. Finishing, they positioned their hands to perfectly emulate each of the Madonnas. The lights dimmed as a playback of children laughing played in the background. I left the gallery thinking about art’s power to intersect old and new and erase manmade borders.


THE PASSION BEHIND THE BRUSH The minds of artists have forever intrigued me. They contain such vividly unique views of the world and feel within them immense beauty where most experience a luke warm, ordinary canvas. Is this gift something they are born with? Or is it rather a way in which the world has molded and shaped them into being. What inspires them to keep going. Where in life do they find and see the most beauty? Andrea Mancini, fine arts professor at Florence University of the Arts, explains his path to teaching young students his 8

by Brook Sill Photos courtesy of FUA Staff

passion, "I started to teach pretty early, doing some workshops at the academy of fine arts, although I did not feel a great passion for teaching at first. But with time, I have become increasingly satisfied with sharing my knowledge with students and young artists. It makes me happy to share my life’s work and achievements with students who feel the same passion for drawing and painting. This gave me great enthusiasm for teaching. But, it is an emotion that you feel with the advancement of time, and it is very useful if you



begin teaching when you are little bit more mature.� He then quotes Leo Tolstoy saying, "Art is not a handicraft, it is the transmission of feeling the artist has experienced." Mancini explains how he loves the possibility of creating a world parallel to the real one. Mancini states, “For example, imagine something that does not exist in reality but can become true with drawing and painting tools. I also like the

fact that art contains a thought, which can be expressed in a thousand different ways, by thousands of different artists. I think art, in the end, is the best way to understand and know the world around us, and most of all, understand and know ourselves." So maybe the place where art lies is neither solely in the artist nor in the world around us after all, but rather in the sweet spot where the two begin to dance.



by Gina Valentino Photos courtesy of the author

This collection is composed by alumna and returning student, Gina Valentino. Valentino has painted hints of fluorescent color on the historic backdrop of Florence's well-known piazza, Santa Croce. This ironic juxtaposition is expressed through an introspective self-portrait style of night photography. "Their Night"


"Our Reflection"

"Her Shadow"



by the FUA Alumni Association Photo courtesy of Rachel Murphy

Originally from the South Suburbs of Chicago, Rachel Murphy was attending culinary school at Robert Morris University in Chicago when she took advantage of the opportunity to study abroad at Florence University of the Arts. “I was lucky enough to study at FUA twice,” she writes. During the Fall of 2011, Rachel came to FUA in Florence for an intensive 6-week program. She took courses in Traditional Italian Cuisine and Italian Regional Cuisine, and also participated in an internship at a local restaurant. “The classes that I took were intensive courses, just a handful of weeks, where there were so many new standards and beliefs about food and wine, as it is such a large part of the Italian culture,” Rachel shares about her learning experience at FUA. The following year, after receiving a message about the Tutto Toscana program with the James Beard Foundation, she decided to return to study with FUA in Fall of 2012. That year’s program included events at Queens College, De Gustibus Cooking School, and two events at the James Beard Foundation. “The program,” Rachel notes, “really highlights how important communication and teamwork are in the culinary industry, and how many moving parts must come together to create a memorable experience.” Always imagining herself as teaching at some point in her career, Rachel first began as an Adjunct Instructor with RMU, while working simultaneously in the kitchen as a Pastry Chef. More recently, she transitioned into the role of full time Instructor and Kitchen Manager for the Culinary Program at Robert Morris University. “Turning my career towards teaching allows me to have another perspective and dimension as a chef - being able to explain techniques, ideas, beliefs, and passions about the industry to the students,” Rachel explains. To any future students looking into FUA, Rachel has two words: “don’t hesitate!” She believes the great opportunities that come from studying abroad outweigh anything that prospective students may be nervous about. After all, she shares, her time in Florence was her first trip outside the US, and she was more than a little nervous. But the staff and instructors at FUA helped her to get settled and make the most of her time. Rachel concludes, “Take advantage of FUA’s wide variety of program and experiential learning opportunities through their restaurant, Blending newsletter, internships, the fashion store, events, and more!” 10




REBUILDING FLORENCE: A CITY WALK WITH STUDENT LIFE As part of the Student Life Department’s mission to offer opportunities for personal and interpersonal enrichment to all FUA students, the Connecting Cultures: City Walk activity provides participants with the possibility to connect to the urban Florentine environment of both past and present. Each week’s City Walk, held on specific Monday nights throughout the semester, focuses on a different neighborhood of the city, recounting the history and folklore of famous monuments and lesser-known landmarks alike. During the Fall 2017 semester, a new itinerary was added to the City Walk series: The Lungarni and the Arno Bridges. On Monday, September 25, Student Life advisor Mattia delle Piane accompanied students on a tour of one of Florence’s oft-overlooked features: the streets which run along the banks of the Arno, in Italian “lungarni,” and the bridges that intersect the river at regular intervals. The common motif that ties this passeggiata together is one of destruction and re-construction; in fact, this City Walk offers insight into two lesser-studied moments in Florence’s rich history - the Second World War and the great flood of 1966 - which had drastic effects on the Florentine landscape and were followed by periods of rebuilding that reshaped the fabric of the city. Starting just a stone’s throw from the Student Life Office in Corso de’ Tintori 21, the first stop was the Biblioteca Nazionale Centrale di Firenze, the largest library in Italy and one of two national libraries in the country. From 1870 onward, it became a requirement that any book published in Italy be archived there. Unfortunately, due to its close proximity to the Arno, many of these historic volumes were ruined when the floodwaters that rushed over the rivers bank, damaging or destroying nearly one third of the library’s collection. To make matters worse, the water from intense rains mixed with mud from the hills of Florence, covering the volumes in thick layers of sludge. For this reason, the many volunteers who flocked to Florence in the days after the flood as well as the locals who stepped up to move as many works of art, books, and other priceless artifacts as possible to dryer spaces were nicknamed “Mud Angels.”

by the SLD Staff Photos courtesy ofMargaret Hartofilis

From here, City Walk-ers crossed the Ponte alle Grazie bridge, which offered a fantastic night-time view of Piazzale Michelangelo, Porta and Ponte San Niccolò upstream, and the iconic Ponte Vecchio downstream. The original Ponte alle Grazie bridge was commissioned in the early eleventh century, making it older than its more famous neighbor, but like all except one of Florence’s bridges which met a similar fate, it was razed in August of 1944 by German troops during their retreat from Florence as Allied forces advanced on the city. The current bridge, constructed in 1953, is of modern design and has little in common with its medieval predecessor. Meandering along via de’ Bardi, past the Bardi Museum, the Bardi Gardens, and the church of Santa Lucia dei Magnoli, one of the next stops for this City Walk was the Torre dei Mannelli, or Mannelli Tower. This particular tower was one of the original four towers that defended each corner of Ponte Vecchio. In 1565, when the famous Vasari Corridor was being constructed under the commission of duke Cosimo I de’ Medici, the Mannelli family was the only family that refused to alter or destroy their tower to allow the Corridor to pass over Ponte Vecchio in a straight line, and so the Corridor actually curves around it. Unfortunately, while the actual bridge was spared from destruction during World War II, the tower was damaged and was restored shortly after the end of the war. A similar story can be told about one of the final points of interest on the City Walk, Ponte Santa Trinità, a Renaissance-era bridge whose stones where dredged from the bottom of the Arno river so that it could be rebuilt post-WWII as authentically as possible. The bridge’s four statues, which represent the four seasons and date from 1608, were also recovered from the Arno’s waters, with the head of the Spring statue by Pietro Francovilla being salvaged and returned a few years later. For upcoming City Walk itineraries and to sign up for this and other Student Life activities, students can log on to MyFUA under the “Activity Sign-up” tab. On Monday, October 9, join us for a tour of the Santa Croce quarter, and don’t miss the Santa Maria Novella City Walk on Monday, October 30. 11



Supplemento di / Supplement to Blending Magazine

Direttore Responsabile / Editor in chief

Reg. Trib. di Firenze n° 5844 del 29 luglio 2011

Matteo Brogi

Anno 7 - Numero 6 - Ottobre 2017 Year 7 - Issue 6 - October 2017

Caporedattore / Editorial Director Grace Joh

Editore / Publisher Florence Campus per INGORDA Editore

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BLENDING Newsletter October 2017  
BLENDING Newsletter October 2017