News

Professor Eric Nicholson, who teaches Comedy in Italy from Ancient to Modern Times and Laughter and Passion: Italian and European Theatre 1500-1700, has published a chapter in the book Performing Girls and Women, Medieval to Early Modern and Beyond, edited by Deanne Williams and published by Amsterdam University Press.

His chapter, “You Know We’re No Good:  Moll Cutpurse, Ophelia, and Her Musically Unruly Sisters,” appraises how the charismatic Italian-style female singing voice —even when emulated by an adolescent male in Shakespeare’s England—could release unruly theatrical energies, especially when linked to sexual intrigue and suggestive musical instrumentations.

Alumna Kristen Portanova recently returned to the Villa Rossa where she spent some time doing remote work (for NBC Universal) in the Villino Library while staying in Florence with her family. She has returned many times since studying here, but this was the first time she stayed more than a few days. She told us about how her experience studying at Syracuse Florence changed her life.

You were a Radio, TV and Film major at Syracuse when you studied in Florence. How did your coursework here relate to your studies at home?

I was not able to take any classes that counted directly towards my major, however the electives I took in Florence were engaging, interesting, and impactful. Italian language was a requirement which I was grateful for, as it assisted me in providing the foundation for conversation with my host family as well as throughout my experience living in Florence. Art History was necessary as it gave me great understanding and appreciation for the art, history, and architecture of Florence. I also took writing and Italian film which were both similar to my Newhouse coursework and certainly assisted me with my senior year courses once I returned to campus. I hadn’t previously been exposed to Italian cinema before I took this course in Florence and I feel it was a vital part of my film education. 

Please tell us about your experience with your host mom Giovanna and why you said you’d recommend every student do this.

Giovanna and Piero were wonderful host parents! I absolutely loved the experience of living with them, and would definitely recommend all students live with host families as it provided me with an unmatched immersive experience into Italian culture within the comfort of a home. Giovanna was an amazing cook, who prepared fresh dinners every evening where we sat at the table for hours which assisted me in not only learning Italian language but also understanding the culture that is placed around meals. Giovanna’s amazing dishes are still some of the best food I have ever had in my life. I appreciated how she allowed me to observe her skills, and took so much time and care in the preparation of each meal. She showed me how Italian culture is so strongly linked to food and the experience of meal time.

You had quite an experience studying art history with the renowned Professor Rab Hatfield and “Robocop” as your TA. What was that like?

Yes, that was absolutely amazing! To study Renaissance Art History with the expert who wrote the textbook was inspiring and unparallelled. Professor Hatfield provided me with the knowledge and appreciation for the art and architecture of Florence and Tuscany that I have cherished throughout my life. He provided such a solid foundation for understanding the city of Florence as we frequently ventured out to see the actual pieces of art in person! 

Peter Weller (“Robocop”) was so animated and passionate, I could tell how much he loved Florence and the art he was teaching us about–he really instilled an excitement in learning! 

Another gift Professor Hatfield gave me was introducing me to Vino Nobile di Montepulciano. During our field trip to the city he had urged us to try a bottle of wine there, and since then my life has changed as this wine has been a staple throughout my life as well as the lives of my family and friends with whom I have shared this knowledge!

You mentioned fun differences like writing your papers by hand and arranging to meet friends at the Duomo without a cell phone. How else has Florence changed since you were here as a student?

I loved writing our papers by hand, since I could sit down with my notebook at a cafe overlooking the Duomo, or on the floor inside the Uffizi, or in a pew at Santa Croce. We did have cell phones at the time and were just introduced to text messaging at the time. Though Florence has since embraced technology now like WiFi, I don’t see many differences to when I studied here in 2003. It’s exactly like going back in time, and being here makes me feel like a student again. The Villa Rossa is still the same warm, welcoming, beautiful place it was when I studied here though it is now full of memories experienced by a younger version of myself. I still go to the taxi stand and sit down at a restaurant for lunch here, instead of grabbing an Uber or ordering Door Dash which I would do at home in New York. It’s comforting to be in such an old unflappable city that has withstood so many generations. It’s part one of the many charms that make Florence such an enchanting city to visit. 

How did your experience at Syracuse Florence influence your life and/or career?

Studying abroad in Florence changed my life, and I would not trade that experience for anything. It had such a huge influence on the trajectory of my life, as it opened my mind to the amazing experience of travel, of living in other cities, and meeting new people. When my time in Florence ended, I returned back to Syracuse more cultured, more appreciative, more compassionate, and with an overall greater understanding of my tiny place in the world. I believe it impacted my professional life, in that I was able to navigate through the chaotic film and television industry with flexibility, and the inspiration to travel and work in all of the different places I have worked in throughout my career. 

By Michelle Tarnopolsky

At Syracuse Florence, we are privileged to be part of countless stories that span continents, generations, and lifetimes. One such story is that of Virginia Arey Querci—a woman whose life was as vibrant and layered as the art she created. Following her recent passing, her son and personal assistant Merita Marashi made a heartfelt donation of Virginia’s art supplies to our studio art department. This generous gesture not only enriches our program but also invites us to reflect on the extraordinary life of a truly unique alumna.

Born in Boston in 1928, Virginia’s artistic journey began at the Boston Museum School and continued at the Yale School of Fine Arts. In her early 20s she travelled to Italy, including a bike trip that ended in Florence. But it was a serendipitous moment in Paris that would alter the course of her life. While walking along the Seine, she heard an Italian singing from a boat and was overcome with emotion. “I have to go back to Florence,” she told her friend. A nearby woman overheard and offered a connection to a countess in Florence. That chance encounter led Virginia to a home along the Arno River—and to the city that would become her lifelong muse.

In Florence, Virginia studied under the renowned painter Pietro Annigoni and immersed herself in the local art scene. She married a Florentine and had three children. After his untimely death, she found lasting love with her second husband, with whom she shared six decades and a son who now lives in Milan.

Virginia’s connection to Syracuse Florence began in the 1970s, when she enrolled in our program and, remarkably, completed an entire Bachelor’s Degree in Fine Arts through our Florence campus—an extraordinary feat for an American abroad at the time. Her career as a visual artist was rich and expressive, though often balanced with her roles as wife and mother. She exhibited her work in Italy, the UK, and the US, and was represented by the British gallery Bilmes Hawkins & Co. Her painted tapestries—evocative of 17th-century wall hangings—captured the essence of Tuscan landscapes and architecture with a timeless grace.

Virginia lived in Fiesole, a hilltop town just above Florence. It was there that she met Merita Marashi in 2016. What began as a job quickly became a deep bond. Just six days after Merita began working with Virginia, the older woman’s husband passed away. From that moment, the two women became inseparable—more like family than employer and assistant. “She treated me like a treasure,” Merita shared, her voice still heavy with grief.

Virginia remained fiercely independent into her 90s—driving, living alone, and painting every day. She was curious, joyful, and always eager to discuss everything from politics to Harry Potter. She left behind a significant body of work and a legacy of creativity, resilience, and warmth.

We are deeply grateful for the donation of her art supplies, which will inspire and support future generations of artists at Syracuse Florence. More than that, we are honored to have been a part of Virginia’s remarkable journey—a journey that began with a song on the Seine and found its home in the heart of Tuscany.

At Syracuse Florence, our studio art professors are more than educators—they’re practicing artists who bring their expertise, creativity, and passion into the classroom. One such individual is Professor Kirsten Stromberg, who teaches painting and sound art. She epitomizes the dynamic nature of our faculty, sharing not only her knowledge but also her experience as an accomplished artist actively engaged in innovative projects.

Over the past two years, Professor Stromberg has been involved in a series of extraordinary initiatives that highlight her dedication to sound as an artistic medium. We’re thrilled to share some highlights of her recent achievements.

In December 2023, Professor Stromberg traveled to Goa, India, to participate in The Listening Academy. This unique research academy explores listening as both a creative and critical practice, bringing together artists, researchers, and thinkers from around the world to investigate the profound act of listening.

In March 2024, she brought her talents to Warsaw, Poland, where she led a captivating workshop and performance in collaboration with artist Benedetta Manfriani for the Lost and Found International Symposium. Together, they engaged with a 15th-century painting, translating its bodily gestures into sound, creating a bridge between visual and auditory art forms.

Later that year, in October, she performed at the Murate Art District (M.A.D.) in Florence. Her text score, Master Piece (materpieces), is part of the series Open Throat Histories which reimagines and critiques the history of European painting. Through this work, Professor Stromberg pays homage to iconic artworks while offering a feminist perspective on the cultural and socio-economic conditions in which these masterpieces were created.

In addition to her international endeavors, Professor Stromberg has made significant contributions closer to home. Throughout 2024 and 2025, she has collaborated with local elementary school children on sound art projects, also in partnership with M.A.D. These initiatives not only introduced young students to the world of sound art but also fostered creativity and community engagement.

Professor Kirsten Stromberg’s work exemplifies the intersection of education, artistic practice, and social impact. At Syracuse Florence, we are proud to have such inspiring faculty who continue to push the boundaries of art and inspire the next generation of artists.

Professor Elia Nichols, who teaches Presentational Speaking at Syracuse Florence, has achieved an impressive milestone. Her TEDx talk, delivered last August, has been published on TED.com and selected as an Editor’s Pick—a distinction awarded to only 0.07% of TEDx talks.

In just one week of being online, Professor Nichols’ talk has already garnered over 36,000 views. Titled The Secret to Looking More Confident, the talk draws from her extensive acting career to share practical tips on radiating confidence, even when you might not feel it.

Professor Nichols is thrilled to share this achievement with the Syracuse Florence community, and invites everyone to watch her talk here. Whether you’re preparing for a presentation, navigating social interactions, or simply looking to boost your confidence, her advice is sure to resonate.

On Wednesday, April 23, our art and architecture students celebrated three months of artistic and academic exploration with the Final Art and Architecture Show. The event highlighted the impressive projects they’ve worked on since arriving in January.

Before opening to the public, the studio art students received valuable critiques from Christian Levett, a prominent contemporary art collector and museum owner. His visit was an inspiring addition that motivated and encouraged the students as they prepared to showcase their work.

The exhibition drew an enthusiastic crowd, who admired an array of creative pieces reflecting the students’ journey in one of the world’s most historically rich cities. From intricate architectural designs to thought-provoking works of art, the show was a celebration of their growth, dedication, and connection to Florence’s cultural heritage.

The evening was a joyful and fitting conclusion to a successful semester, leaving attendees inspired by the results of their transformative experience in the birthplace of the Renaissance. Bravo to all involved!

Professor Alexandria Brown-Hejazi, who teaches a class on art and science in the Renaissance, published an article in the March 2025 issue of the prestigious art history journal The Burlington Magazine. She told us about her exciting discovery:

This article presents a document I discovered in the state archives in Rome in 2018. I was participating in an archival training seminar led by Notre Dame that prepared students for working in Italian archives at the start of their dissertations. While completing my PhD in Art History at Stanford, my dissertation explored artistic exchange between Safavid Iran and Italy, looking particularly at embassies sent from Isfahan to Venice, Florence, and Rome in the 1600s. While hunting for documents related to this exchange, I discovered the last will and testament of Teresia Shirley, the wife of one of the Safavid ambassadors. It is a very exciting find as it highlights the voice of Teresia, who was an essential and powerful figure in the embassies, but who usually gets overlooked. I am hoping this discovery will contribute to our knowledge of how women in the early modern world were agents of power in the diplomatic world as well. 

By Holly Anderson

During my time in Florence, I have been interning under videographer Kirsten Hills as her sole production assistant. Kirsten works with several organizations to document events and tell stories through her films.

During my third week in Florence, Kirsten and I worked on a massive project together for a travel company named Tauck. They held a week-long event in Florence to celebrate 100 years of the company and helped their staff and clientele immerse themselves in the rich history of the city.

Working alongside Kirsten to document this massive event has become a core memory abroad for me and gave me a deeper understanding and appreciation for the city I get to call home for four months. Kirsten and I worked with a team of three other professionals in order to successfully cover each massive event. With over 800 participants in the celebration, our video team often had to split up our responsibilities, giving me a much bigger role than I was expecting in my internship. 

While I had worked in film before, I only have experience documenting things on strategically planned-out film sets. Filming events in real time was a completely different experience, one that was extremely challenging to jump into, but also super exciting and rewarding in the long run. 

Through this internship, Kirsten has exposed me to different sides of the film industry that I have never experienced before. While it has certainly been a challenge jumping into a new field of work in the midst of a major project, with Kirsten’s help I have learned how to quickly adapt to new situations and acquire new skills, as well as how to remain professional in high-stress situations. These soft skills are some of the most important things I have taken away from my abroad experience in Florence. 

In March, Syracuse Florence Director and Director of Global Innovation of Syracuse Abroad Sasha Perugini presented her latest research on AI and study abroad at the Forum of Education Abroad Conference in Toronto, where she participated in two panels.

In the first, “From Tensions to Transformations: The EU Perspective on Study Abroad,” Dr. Perugini presented with Syracuse Abroad colleagues Associate Provost and Executive Director Erika Wilkens, Director of Global Teaching & Learning Troy Gordon, and Syracuse Strasbourg Director John Goodman. In it they explored the challenges of managing expectations versus reality in the field of international education.

Perugini chaired the second panel, “AI and Study Abroad: An Overview,” in which she explored ethical tensions with Attorney Gianfranco Borio and delved into the AI-driven job market. Panelists discussed questions like: What does it mean to study abroad in an age when ‘place’ is increasingly decoupled from presence? How do we preserve learning, while engaging with tools that can simulate it but that can also dumb us down?

“Far from a futuristic abstraction,” Perugini explained, “artificial intelligence is reshaping how we design, deliver, and experience international education.”