We Don’t Need No Education
The monographic issue We Don’t Need No Education. The education of the Artist and for the Artist from the Pastwar to the Present, curated by Raffaele Bedarida, is the second issue of the new series of Senzacornice Journal. Studies on the Contemporary Art System. It explores the histories, theories, and practices around the education of and for artists: how has the history of art schools (accademie d’arte in Italy) and their pedagogical approach shaped or expressed what an artist must know and do? What kind of art history has been taught in art schools, and how has it related to the art history taught in universities? What kinds of knowledge and pedagogical models for the training of artists have emerged, prevailed, and declined over time? How has the Italian educational system, in comparison with other countries, created a national specificity, with its strengths and weaknesses? How have teaching activities and art practices been intersected, both before and after the so-called “educational turn” of the last thirty years?
n°2
September 2026
Monographic issue edited by Raffaele Bedarida
Raffaele Bedarida teaches Contemporary Art History at Sapienza University of Rome. He studied at the University of Siena and received his PhD from the CUNY. His experience in the Departments of Adult and Academic Programs at MoMA and the Guggenheim Museum in New York (2009–16) was fundamental to his approach to teaching. He has taught at CUNY, The New School, and Cooper Union (2013–24), where he was Associate Professor and directed the Art History program. His research focuses on cultural diplomacy, migration, artistic exchange between Italy and the United States, exhibition history, censorship, and propaganda from the Fascist period to the Cold War. His books include Corrado Cagli: La pittura, l’esilio, l’America (2018), Exhibiting Italian Art in the United States from Futurism to Arte Povera (2022), and Curating Fascism: Exhibitions and Memory from the Fall of Mussolini to Today(with S. Hecker, 2023). He has held fellowships from CIMA, the Terra Foundation, the Italian Council, and the Andy Warhol Foundation. He is currently editing the catalogue raisonné of Francesco Di Cocco in collaboration with the Archivio Enrico Crispolti and with the support of the Edizioni Nazionali.
Leslie Hewitt, Untitled. Rough Cut, 2025
Monoprint, 24 5/16 x 16 11/16 x 1 /34 inch

L’ultimo futurista al Cairo. Tullio Crali, 1961-1966

Il passato non si è mai concluso. Cooper Union, Reuben Kadish e la formazione degli artisti

Come si crea un artista. Talento, mestiere, professione

Del modo di narrare l’arte in accademia
Index
We don’t need no education. Per una storia della formazione artistica dal secondo Novecento a oggi
Raffaele Bedarida
La cultura artistica moderna all’Accademia di Belle Arti di Roma del secondo dopoguerra, fra aperture e tabù
Elisa Genovesi
L’ultimo futurista al Cairo. Tullio Crali, 1961-1966
Giulia Beatrice
From the Bottega to the Cantiere: Alternative Pedagogical Sites in Italy from the 1970s to the 2000s
Sharon Hecker
Oltre la Cátedra Arte de Conducta, una generazione artistica transnazionale: alcuni esempi in Italia
Francesca D’Andrea
La Casa degli Artisti di Milano: un diverso modello di formazione artistica tra anni Settanta e Ottanta
Giulia Zompa
Il passato non si è mai concluso. Cooper Union, Reuben Kadish e la formazione degli artisti
Doug Ashford e Owen Duffy
Come si crea un artista. Talento, mestiere, professione
Stefano Chiodi, Liliana Moro
Del modo di narrare l’arte in accademia
Marco Rinaldi
Forme di integrazione fra pedagogia situata e produzione artistica. Il caso della Fondazione Lac o le Mon
Cesare Pietroiusti
Espandere lo spazio pubblico attraverso l’arte e l’educazione alternativa. Una conversazione con Pablo Helguera
Ginevra Ludovici






















