DOCSLIB.ORG

Prilozhenie Otovarennaya Mechta

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Prilozhenie Otovarennaya Mechta ПРИЛОЖЕНИЕ № 1 к Договору № ______ от «__» ________2016 ГБУКиО г. Москвы «Мультимедийный комплекс актуальных искусств» Список экспонатов выставки «Отоваренная мечта» Место проведения: 1. Александр Родченко Плакат «Книги по всем отраслям знаний» 1925 Реконструкция В. Родченко 1980-х гг. Частное собрание Alexander Rodchenko ‘Books in All Fields of Knowledge’ Poster 1925 Reconstruction by V. Rodchenko, 1980s Private collection 2. Д. Тархов Моссельпром Москва: Московское агентство транспечати НКПС 1926 Собрание Российской государственной библиотеки D. Tarkhov Mosselprom Moscow: NKPS Moscow Transprinting Agency 1926 Russian State Library 3. Требуйте кондитерские изделия госфабрик Моссельпрома Москва: Мосполиграф 1928 Собрание Российской государственной библиотеки Ask for Confectionaries from the Mosselprom State Factory Moscow: Mospoligraf 1928 Russian State Library 4. Плакат «Столовое масло» для Моссельпрома Текст Владимира Маяковского 1923 Частное собрание ‘Oil’ Poster for Mosselprom Text by Vladimir Mayakovsky 1923 Private collection 5. Упаковка «Моссельпром» 1920-е Собрание Московского музея дизайна Mosselprom Box 1920s Moscow Design Museum 6. Коробка «Монпансье» 1920-е Росглавкондитер ф-ка им Бабаева Собрание Московского музея дизайна Montpensier Box 1920s Rosglavkonditer Babayev Factory Moscow Design Museum 7. Макет упаковки для кондитерских изделий (1920-е гг.) Карамель «Новый вес» Реконструкция 2012 Собрание Музея истории шоколада и какао Mockup for Confectionaries Package (1920s) Novy Ves Caramels Reconstruction of 2012 Museum of the History of Chocolate and Cocoa 8. Макет упаковки для кондитерских изделий Карамель «Пролетарская» Реконструкция 2012 Собрание Музея истории шоколада и какао Mockup for Confectionaries Package Proletarskaya Caramels Reconstruction of 2012 Museum of the History of Chocolate and Cocoa 9. Макет упаковки для кондитерских изделий (1920-е гг.) Квавадзе Е.Ш. Карамель «Красноармейская звезда» Реконструкция 2012 Собрание Музея истории шоколада и какао Mockup for Confectionaries Package (1920s) Y.S. Kvavadze Krasnoarmeyskaya Zvezda Caramels Reconstruction of 2012 Museum of the History of Chocolate and Cocoa 10. Александр Родченко Дом Моссельпрома Москва 1925 Собрание МАММ/МДФ Alexander Rodchenko Mosselprom House Moscow 1925 MAMM/MDF 11. Нигде кроме как в Моссельпроме Москва: Мосполиграф 1927 Собрание Российской государственной библиотеки Only at Mosselprom Moscow: Mospoligraf 1927 Russian State Library 12. Неизвестный автор Голодающие 1922 Собрание МАММ/МДФ Unknown author Starvings 1922 MAMM/MDF МДФ КП-1510/212 ФII-7835 13. Шокин Леонид [Продразверстка] 1920-е Тверская обл., г. Кимры Собрание МАММ/МДФ Leonid Shokin [Prodrazverstka] 1920s Kimry, Tver Region MAMM/MDF 14. Неизвестный автор Столовая для делегатов Съезда РКП(б) Москва 1918 Собрание МАММ/МДФ Unknown author Cafeteria for Delegates to the Congress of the Russian Communist Party (Bolsheviks) Moscow 1918 MAMM/MDF 15. Шокин Леонид Холодные сапожники 1920-е Тверская обл., г. Кимры Собрание МАММ/МДФ Leonid Shokin Street cobblers 1920s Kimry, Tver Region MAMM/MDF 16. Неизвестный автор «Трудовой паек выдается только за проработанные дни» Удостоверение трудовой карточки 1919 Частное собрание Unknown author ‘The worker's ration is accorded only for worked days’ Worker's card identification 1919 Private collection 17. Карточка на предметы широкого потребления на одно лицо Продовольственный отдел московского совета рабочих и крестьянских депутатов 1920 Частное собрание Ration Card for Consumer Commodities for One Person Food Department of the Moscow Soviet of Workers' and Peasants' Deputies 1920 Private collection 18. Неизвестный автор Бесплатная столовая у Киевского вокзала в Москве 1919 Частное собрание Unknown author Free Canteen next to the Kiev Railroad Station in Moscow 1919 Private collection К июню 1919 г. из каждой сотни москвичей 47 ели в таких столовых. По крайней мере, такой была большевистская статистика. By June 1919, 47 out of 100 Muscovites ate in such canteens according to Bolsheviks figures. 19. Неизвестный автор На рынке Кубань 1921 Собрание МАММ/МДФ Unknown author At the Market Kuban 1921 MAMM/MDF 20. Неизвестный автор Восточный базар 1920-е Собрание МАММ/МДФ Unknown author Oriental Market 1920s MAMM/MDF 21. Шишкин Аркадий Единоличники сдают хлеб государству 1928 Вятская губ. Собрание МАММ/МДФ Шишкин Аркадий Единоличники сдают хлеб государству 1928 Собрание МАММ/МДФ Arkady Shishkin Individual Farmers Hand Over Grain to the State 1928 MAMM/MDF 22. Леонид Шокин Подвозка дров Кимры, Тверская обл. 1930-е Собрание МАММ/МДФ Leonid Shokin Bringing Firewood Kimry, Tver Region 1930s MAMM/MDF 23. Неизвестный автор Борьба с топливным голодом. Своз торфа на лошадях 1920–1930-е Собрание МАММ/МДФ Unknown author Overcoming the Fuel Shortage. Delivering Peat on Horses 1920s-1930s MAMM/MDF 24. Николай Петров Уличный рынок-барахолка Москва 1920 Собрание МАММ/МДФ Nikolai Petrov Street Flea Market Moscow 1920 MAMM/MDF На таких барахолках интеллигенция могла продать свои вещи, чтобы прокормиться The intelligentsia could sell its belongings at flea markets to buy food 25. Папиросы «Наша марка» Ростов-на-Дону: Донполиграфбум 1926 Собрание Российской государственной библиотеки Nasha Marka Cigarettes Rostov-on-the-Don: Donpoligrafbum 1926 Russian State Library 26. Александр Родченко Пушкинская площадь. Папиросница Моссельпрома Москва 1926 Собрание МАММ/МДФ Alexander Rodchenko Pushkin Square. Mosselprom Cigarette Vendor Moscow 1926 MAMM/MDF 27. Георгий Сошальский Беспризорники 1920-е Собрание МАММ/МДФ Georgy Soshalsky Vagabonds 1920s MAMM/MDF 28. Виктор Булла «Граждане, получившие водку» (отмена сухого закона в России) Ленинград 1923 Цифровая печать Частное собрание Viktor Bulla ‘Citizens Buying Vodka’ (repeal of the prohibition law in Russia) Leningrad 1923 Digital print Private collection Высочайше утвержденным положением Совета министров 27.09.1914 городским думам и сельским общинам, а 13.09.1914 и земским собраниям на время войны предоставлено право запрещать торговлю спиртными напитками. Волею государя право решения вопроса быть или не быть трезвости во время войны было предоставлено мудрости самого народа. 26 августа 1923 Советом народных комиссаров издано постановление о возобновлении производства и торговли спиртными напитками в СССР. По имени председателя СНК Алексея Рыкова в народе за водкой на некоторое время закрепилось название «Рыковка». According to the Statute of the Council of Ministers of September 27, 1914, approved by His Majesty, town parliaments and rural communities (and, on September 13, 1914, zemstvo meetings) were given the right to prohibit the sale of alcoholic beverages during the war. At the Tsar's will, the right to decide whether or not people should be sober during the war was accorded to the people itself. On August 26, 1923, the Soviet of People's Commissars issued a decree on the resumption of the production and sale of alcoholic beverages in the USSR. For some time, people called vodka ‘Rykovka’ in honor of Aleksey Rykov, Chairman of People's Commissars. 29. Неизвестный автор Пивторг Москва 1930-е Собрание МАММ/МДФ Unknown author Beer Kiosks Moscow 1930s MAMM/MDF После спада, вызванного коллективизацией (приведшей к дефициту ячменя для солода), советское пивоварение в 1931 году вновь оживилось. Как сказал нарком пищевой промышленности Анастас Микоян: «Пиво – это для взрослых». After the fall in production resulting from collectivization (which led to a shortage of barley for malt), the Soviet beer industry revived in 1931. According to Anastas Mikoyan, People's Commissar of the Food Industry, ‘Beer is for adults’. 30. Неизвестный автор Развозчик пива 1920-е Собрание МАММ/МДФ Unknown author Beer Delivery Man 1920s MAMM/MDF Власти СССР приняли решение о производстве пива в 1923 г., и за три года объемы пивоварения выросли в четыре раза. Soviet authorities decided in 1923 to produce beer. Over three years, beer production quadrupled. 31. Александр Родченко Плакат «Трехгорное пиво» 1923 Частное собрание Alexander Rodchenko ‘Trekhgornoye Beer’ Poster 1923 Private collection 32. Александр Устинов Новые колхозные начальники Московская область 1931 Собрание агентства «ФотоСоюз» Alexander Ustinov New Collective Farm Directors Moscow Region 1931 Fotosoyuz Agency Они еще босиком, но получили главный атрибут власти – портфель. Still barefoot, he got the main token of power: a briefcase. 33. Неизвестный автор Очередь в распределитель №1 кооператива для сотрудников и войск ОГПУ в лагере Сентябрь 1928 МИА «Россия сегодня» Unknown author Line to Distributor #1 of the Cooperative for OGPU Personnel and Soldiers in a Labor Camp September 1928 Rossiya Segodnya International Press Agency 34. Борис Игнатович На коммунальной кухне Москва 1927 Собрание МАММ/МДФ Boris Ignatovich In the Communal Kitchen Moscow 1927 MAMM/MDF 35. Александр Родченко Газетный киоск Москва 1929 Собрание МАММ/МДФ Alexander Rodchenko Newspaper Kiosk Moscow 1929 MAMM/MDF 36. Борис Игнатович Хлебороб 1926 Собрание МАММ/МДФ Boris Ignatovich Grain-grower 1926 MAMM/MDF 37. Александр Родченко Уличная торговля на Охотном ряду Москва 1928 Собрание МАММ/МДФ Alexander Rodchenko Street Vendors in Okhotny Ryad Moscow 1928 MAMM/MDF 38. Отто Парли Очередь за хлебом Псков 1923 Частное собрание Otto Parli Line for Bread Pskov 1923 Private collection 39. Неизвестный автор В столовой красных командиров 1930-е Собрание МАММ/МДФ Unknown author At the Red Commanders Cafeteria 1930s From the MAMM/MDF collection 40. Неизвестный автор / «Союзфотохроника» Буфет самообслуживания 1930-е Собрание
Load more

Recommended publications
  • Art and Technology Between the Usa and the Ussr, 1926 to 1933
    THE AMERIKA MACHINE: ART AND TECHNOLOGY BETWEEN THE USA AND THE USSR, 1926 TO 1933. BARNABY EMMETT HARAN PHD THESIS 2008 DEPARTMENT OF HISTORY OF ART UNIVERSITY COLLEGE LONDON SUPERVISOR: PROFESSOR ANDREW HEMINGWAY UMI Number: U591491 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U591491 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 I, Bamaby Emmett Haran, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 ABSTRACT This thesis concerns the meeting of art and technology in the cultural arena of the American avant-garde during the late 1920s and early 1930s. It assesses the impact of Russian technological Modernism, especially Constructivism, in the United States, chiefly in New York where it was disseminated, mimicked, and redefined. It is based on the paradox that Americans travelling to Europe and Russia on cultural pilgrimages to escape America were greeted with ‘Amerikanismus’ and ‘Amerikanizm’, where America represented the vanguard of technological modernity.
    [Show full text]
  • Constructivism (Art) 1 Constructivism (Art)
    Constructivism (art) 1 Constructivism (art) Constructivism was an artistic and architectural philosophy that originated in Russia beginning 1919, which was a rejection of the idea of autonomous art in favour of art as a practice for social purposes. Constructivism as an active philosophy lasted until about 1934, greatly effecting the art of the Weimar Republic and elsewhere, before being replaced by Socialist Realism. Some of its motifs have been reused sporadically since. Beginnings The term Construction Art was first used as a derisive term by Kazimir Malevich to describe the work of Alexander Rodchenko during 1917. Constructivism first appears as a positive term in Naum Gabo's Realistic Manifesto of 1920. Alexei Gan used the word as the title of his book Constructivism, which was printed during 1922.[1] Constructivism was a post-World War I development of Russian Futurism, and particularly of the 'corner-counter reliefs' of Vladimir Tatlin, which had been exhibited during 1915. The term itself would be invented by the sculptors Antoine Pevsner and Naum Photograph of the first Constructivist Exhibition, 1921 Gabo, who developed an industrial, angular style of work, while its geometric abstraction owed something to the Suprematism of Kasimir Malevich. The teaching basis for the new ohilosophy was established by The Commissariat of Enlightenment (or Narkompros) the Bolshevik government's cultural and educational ministry directed by Anatoliy Vasilievich Lunacharsky who suppressed the old Petrograd Academy of Fine Arts and the Moscow School of Painting, Sculpture and Architecture during 1918. IZO, the Commissariat's artistic bureau, was managed during the Russian Civil War mainly by Futurists, who published the journal Art of the Commune.
    [Show full text]
  • The Artist Reinvented Combining Delicately
    Engineer, Agitator, Constructor: The Combining delicately hued watercolor with Artist Reinvented cut-and-pasted print reproductions, Grosz depicts his friend and fellow Dada artist John Heartfield as bald and grim-faced, with clenched fists and a machine for a heart. Grosz reimagines him not as an artist but as a “monteur,” one who fits machine parts— or, in Heartfield’s case, mechanically produced imagery. Like broadsheets plastered on a public wall, cut-and-pasted papers—overlapping and colliding—infuse this artwork with the visual cacophony of the streets. Everything demands attention, from the images of Baader staring outward to the abundance of text, including headlines, journal articles, letters, and postcards. The accumulated elements form a rapid-fire portrait of contemporary politics in Germany. They also document Baader’s own attempts to plant distrust in the authority of the press—including his distribution of flyers announcing “Dadaists against Weimar” at a 1919 meeting of the German National Assembly. The work “advertises” Baader as a disruptor and cultural critic who radically defies all expectations of the artist’s role, domain, or means. Engineer, Agitator, Constructor: The Hailed as “the avant-garde of the creative Red Artist Reinvented Army,” the artists’ collective UNOVIS (Affirmers of the New Art)—based in Vitebsk (now in Belarus), west of Moscow—sought to transform geometric abstraction into a political weapon. In late spring of 1920, just as the Russian civil war took a decisive turn, Strzemiński and his partner, Katarzyna Kobro, established a UNOVIS branch in Smolensk and produced posters for the Russian telegraph agency (ROSTA). As individual authorship was subsumed in the aims of the collective, these posters were not signed.
    [Show full text]
  • Checklist of the Judith Rothschild Foundation Gift
    Checklist of The Judith This checklist is a comprehensive ascertained through research. When a For books and journals, dimensions Inscriptions that are of particular his- record of The Judith Rothschild place of publication or the publisher given are for the largest page and, in torical or literary interest on individual Rothschild Foundation Gift Foundation gift to The Museum of was neither printed in the book nor cases where the page sizes vary by books are noted. Modern Art in 2001. The cataloguing identified through research, the des- more than 1/4,” they are designated Coordinated by Harper Montgomery system reflects museum practice in ignation “n.s” (not stated) is used. irregular (“irreg.”). For the Related The Credit line, Gift of The Judith under the direction of Deborah Wye. general and the priorities of The Similarly, an edition size is some- Material, single-sheet dimensions in Rothschild Foundation, pertains to all Museum of Modern Art’s Department times given as “unknown” if the print which the height or width varies from items on this checklist. To save space Researched and compiled by of Prints and Illustrated Books in par- run could not be verified. City names one end to the other by more than and avoid redundancy, this line does Jared Ash, Sienna Brown, Starr ticular. Unlike most bibliographies are given as they appear printed in 1/4” are similarly designated irregular. not appear in the individual entries. Figura, Raimond Livasgani, Harper and library catalogues, it focuses on each book; in different books the An additional credit may appear in Montgomery, Jennifer Roberts, artists rather than authors, and pays same city may be listed, for example, Medium descriptions (focusing on parentheses near the end of certain Carol Smith, Sarah Suzuki, and special attention to mediums that as Petersburg, St.
    [Show full text]
  • A “Russianesque Camera Artist”: Margaret Bourke- White's American
    ISSN: 2471-6839 Cite this article: Josie Johnson, “A ‘Russianesque Camera Artist’: Margaret Bourke-White’s American- Soviet Photography,” Panorama: Journal of the Association of Historians of American Art 6, no. 2 (Fall 2020), https://doi.org/10.24926/24716839.10572. A “Russianesque Camera Artist”: Margaret Bourke- White’s American-Soviet Photography Josie Johnson, Capital Group Foundation Curatorial Fellow for Photography, Iris & B. Gerald Cantor Center for Visual Arts, Stanford University In May 1930, an unnamed journalist for the Dayton Daily News penned a brief article under the heading “Beauty in Industry Is Shown by Photographer in Unique Plat Studies.”1 The subject of the report was Margaret Bourke-White (1904–1971), a twenty-five-year-old photographer raised in New Jersey and based in Cleveland at the time. Her skill in transforming industrial subjects into art and her recent hire by the new business magazine Fortune attracted broad notice in the press. The Dayton Daily supplied a typical profile, emphasizing Bourke-White’s youth and her fearless determination to work around heavy machinery. Yet one phrase in the article stands out—her description as a “Russianesque camera artist.” Today, Bourke-White is remembered as a globetrotting photojournalist for Life magazine. But before joining Life in 1936, she had brokered a unique arrangement with Fortune magazine in 1929, spending half her time as its star photographer of business and industry features, and half her time on personal projects (mostly consisting of advertising commissions) at the Bourke-White Studio.2 It was in the latter capacity as an independent photographer that she first traveled to Russia in 1930, then returned twice, in 1931 and 1932.3 Over the course of these three trips, she created an extensive body of photographs that would be featured in her first book, Eyes on Russia (1931), a six-part series in the New York Times (1932), a deluxe photo portfolio (1934), and a set of photomurals for the Soviet consulate in New York (1934).
    [Show full text]
  • List of Objects Proposed for Protection Under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (Protection of Cultural Objects on Loan)
    List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Revolution: Russian Art 1917 - 1932 7 February 2017 to 17 April 2017 Artist: Yury Pimenov Title: Football Date: 1926 Medium: Oil on canvas Dimensions: Unframed: 134.5 x 89.5 cm Framed: 184 x 150 x 7 cm Inv.No: BX-280/2 Lent by: ASTRAKHAN, THE ASTRAKHAN STATE ART GALLERY C/O ROSIZO The Astrakhan State Art Gallery Astrakhan, The P.m. Dogadin Astrakhan State Art Gallery (rosizo) The P.M. Dogadin Astrakhan State Art Gallery ul. Sverdlova, 81 Astrakhan, Astrakhan Oblast, 414004 Russia Provenance: The work was donated to the Astrakhan State Art Gallery by the State Tretyakov Gallery in 1929. The work was donated to the Tretyakov Gallery from All-Union Society for Cultural Relations with Foreign Countries on the basis of an act dated 23.02.1929 *Note that this object has a complete provenance for the years 1933-1945 List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Revolution: Russian Art 1917 - 1932 7 February 2017 to 17 April 2017 Artist: Ekaterina Zernova Title: Tomato Paste Factory Date: 1929 Medium: Oil on canvas Dimensions: Unframed: 141 x 110 cm Framed: 150 x 120 x 7 cm Inv.No: BX-280/1 Lent by: ASTRAKHAN, THE ASTRAKHAN STATE ART GALLERY C/O ROSIZO The Astrakhan State Art Gallery Astrakhan, The P.m. Dogadin Astrakhan State Art Gallery (rosizo) The P.M.
    [Show full text]
  • 7.10 Nov 2019 Grand Palais
    PRESS KIT COURTESY OF THE ARTIST, YANCEY RICHARDSON, NEW YORK, AND STEVENSON CAPE TOWN/JOHANNESBURG CAPE AND STEVENSON NEW YORK, RICHARDSON, YANCEY OF THE ARTIST, COURTESY © ZANELE MUHOLI. © ZANELE 7.10 NOV 2019 GRAND PALAIS Official Partners With the patronage of the Ministry of Culture Under the High Patronage of Mr Emmanuel MACRON President of the French Republic [email protected] - London: Katie Campbell +44 (0) 7392 871272 - Paris: Pierre-Édouard MOUTIN +33 (0)6 26 25 51 57 Marina DAVID +33 (0)6 86 72 24 21 Andréa AZÉMA +33 (0)7 76 80 75 03 Reed Expositions France 52-54 quai de Dion-Bouton 92806 Puteaux cedex [email protected] / www.parisphoto.com - Tel. +33 (0)1 47 56 64 69 www.parisphoto.com Press information of images available to the press are regularly updated at press.parisphoto.com Press kit – Paris Photo 2019 – 31.10.2019 INTRODUCTION - FAIR DIRECTORS FLORENCE BOURGEOIS, DIRECTOR CHRISTOPH WIESNER, ARTISTIC DIRECTOR - OFFICIAL FAIR IMAGE EXHIBITORS - GALERIES (SECTORS PRINCIPAL/PRISMES/CURIOSA/FILM) - PUBLISHERS/ART BOOK DEALERS (BOOK SECTOR) - KEY FIGURES EXHIBITOR PROJECTS - PRINCIPAL SECTOR - SOLO & DUO SHOWS - GROUP SHOWS - PRISMES SECTOR - CURIOSA SECTOR - FILM SECTEUR - BOOK SECTOR : BOOK SIGNING PROGRAM PUBLIC PROGRAMMING – EXHIBITIONS / AWARDS FONDATION A STICHTING – BRUSSELS – PRIVATE COLLECTION EXHIBITION PARIS PHOTO – APERTURE FOUNDATION PHOTOBOOKS AWARDS CARTE BLANCHE STUDENTS 2019 – A PLATFORM FOR EMERGING PHOTOGRAPHY IN EUROPE ROBERT FRANK TRIBUTE JPMORGAN CHASE ART COLLECTION - COLLECTIVE IDENTITY
    [Show full text]
  • October 2017 • V
    October 2017 • v. 57, n. 5 NewsNet News of the Association for Slavic, East European, and Eurasian Studies Article Written: 1917 for 2017 Kristin Romberg, University of Illinois at Urbana-Champaign When the editors of NewsNet asked me months ago to digging in archives and carefully crafting a narrative to contribute something on the current state of scholarship about how the revolution mattered (in my case, to aesthetic about art produced in the context of the Russian Revolution, modernism), it has been a giddy delight to see the issues I planned to write about the repositioning of the field that motivate my work actually matter both to a broader in the past ten years; how the receding relevance of the audience and in relation to world events. At the same time, Cold War paradigms that once made our work “topical” that brighter spotlight and larger pool of participants have in Title VIII terms has been as much an opportunity as a been accompanied by the discomfort of misrecognition challenge; how a decreasing appetite for Manichean hero/ and the awkward illumination of some of the quirks of villain structures has allowed new figures, histories, and academe. The disciplinary boundaries and psychological questions to become visible and opened up a new set of compartmentalizations that gird scholarly endeavors discursive frames. As I sat down to write, however, the (in my opinion, necessarily) appear less like an infinite ghosts all returned in the form of the question that haunts horizon and more like the “silos” that administrators keep this centennial year: how do we think about the Russian telling us that they are.
    [Show full text]
  • February 2021. New Acquisitions F O R E W O R D
    FEBRUARY 2021. NEW ACQUISITIONS F O R E W O R D Dear friends & colleagues, We are happy to present our first catalogue of the year in which we continue to study Russian and Soviet reality through books, magazines and other printed materials. Here is a list of contents for your easier navigation: ● Architecture, p. 4 ● Women Studies, p. 19 ● Health Care, p. 25 ● Music, p. 34 ● Theatre, p. 40 ● Mayakovsky, p. 49 ● Ukraine, p. 56 ● Poetry, p. 62 ● Arctic & Antarctic, p. 66 ● Children, p. 73 ● Miscellaneous, p. 77 We will be virtually exhibiting at Firsts Canada, February 5-7 (www.firstscanada.com), andCalifornia Virtual Book Fair, March 4-6 (www.cabookfair.com). Please join us and other booksellers from all over the world! Stay well and safe, Bookvica team February 2021 BOOKVICA 2 Bookvica 15 Uznadze St. 25 Sadovnicheskaya St. 0102 Tbilisi Moscow, RUSSIA GEORGIA +7 (916) 850-6497 +7 (985) 218-6937 [email protected] www.bookvica.com Globus Books 332 Balboa St. San Francisco, CA 94118 USA +1 (415) 668-4723 [email protected] www.globusbooks.com BOOKVICA 3 I ARCHITECTURE 01 [HOUSES FOR THE PROLETARIAT] Barkhin, G. Sovremennye rabochie zhilishcha : Materialy dlia proektirovaniia i planovykh predpolozhenii po stroitel’stvu zhilishch dlia rabochikh [i.e. Contemporary Workers’ Dwellings: Materials for Projecting and Planned Suggestions for Building Dwellers for Workers]. Moscow: Voprosy truda, 1925. 80 pp., 1 folding table. 23x15,5 cm. In original constructivist wrappers with monograph MB. Restored, pale stamps of pre-war Worldcat shows no Ukrainian construction organization on the title page, pp. 13, 45, 55, 69, copies in the USA.
    [Show full text]
  • P H O T O N E W S L E T T
    The PHOTO REVIEW NEWSLETTER February / March 2018 Alison Rossiter Eastman Kodak Opal G, expired September 1956, processed 2015 From “9 New Jersey Photographers” at Stockton Art Galleries, Galloway, NJ WELCOME TO PHILADELPHIA Dear SPE Conference Attendee, This issue of The Photo Review Newsletter lists the many exhibitions on view at The University of the Arts and in the surrounding Philadelphia area during SPE's 55th Annual Conference. I hope you will take time to see as many of them as possible. The Photo Review is a critical journal of international scope and readership. Publishing since 1976, The Photo Review covers photography events throughout the country and serves as a central resource for photography in the Mid-Atlantic region. The biannual journal contains reviews, portfolios, interviews, book reviews, and news. The Photo Review Newsletter, issued eight times a year, contains complete ex- hibition listings from throughout the Mid-Atlantic region (Pennsylvania, New York, New Jersey, Dela- ware, Maryland, Virginia, and Washington, DC) and California, and exhibition opportunities and news of interest from throughout the world. Subscriptions are $45 for one year, $80 for two years within the United States, a bit more elsewhere. We also have special institutional subscription rates for colleges and universities that will send our newsletter to any number of your faculty and students. Just email info@ photoreview.org for details. We also publish The Photograph Collector, the leading source of information on the photography art market with previews and analysis of auctions and trade fairs among many other features, including list- ings of auctions, trade fairs, limited editions, lectures, and exhibitions of note worldwide.
    [Show full text]
  • Constructing Revolution: Soviet Propaganda Posters from Between the World Wars September 24, 2017–February 11, 2018
    Constructing Revolution: Soviet Propaganda Posters from between the World Wars September 24, 2017–February 11, 2018 Bowdoin College Museum of Art OSHER GALLERY Constructing Revolution: Soviet Propaganda Posters from between the World Wars Constructing Revolution explores the remarkable and wide-ranging body of propaganda posters as an artistic consequence of the 1917 Russian Revolution. Marking its centennial, this exhibition delves into a relatively short-lived era of unprecedented experimentation and utopian idealism, which produced some of the most iconic images in the history of graphic design. The eruption of the First World War, the Russian revolutions of 1905 and 1917, and the subsequent civil war broke down established political and social structures and brought an end to the Tsarist Empire. Russia was split into antagonistic worlds: the Bolsheviks and the enemy, the proletariat and the exploiters, the collective and the private, the future and the past. The deft manipulation of public opinion was integral to the violent class struggle. Having seized power in 1917, the Bolsheviks immediately recognized posters as a critical means to tout the Revolution’s triumph and ensure its spread. Posters supplied the new iconography, converting Communist aspirations into readily accessible, urgent, public art. This exhibition surveys genres and methods of early Soviet poster design and introduces the most prominent artists of the movement. Reflecting the turbulent and ultimately tragic history of Russia in the 1920s and 1930s, it charts the formative decades of the USSR and demonstrates the tight bond between Soviet art and ideology. All works in this exhibition are generously lent by Svetlana and Eric Silverman ’85, P’19.
    [Show full text]
  • 7269E3485e66cac1310dc23b8f
    пермский академический театр оперы и балета им. п. и. чайковского правительство пермского края; министерство культуры, молодежной политики и массовых коммуникаций пермского края; департамент культуры и молодежной политики администрации г. перми генеральный партнер партнеры: медиа-партнеры: партнеры фестивального клуба: пермь — город дягилева о фестивале about the festival Международный Дягилевский фести- The International Diaghilev Festival валь нацелен на поддержание и раз- aims to maintain and develop витие традиций выдающегося импре- the traditions of the prominent сарио и пропагандиста русской куль- impresario and promoter of Russian туры Сергея Павловича Дягилева. culture Sergei Diaghilev. Далеко не случайно, что именно Перм- It is no coincidence that the Perm ский академический театр оперы и Opera and Ballet Theatre initiated балета им. П. И. Чайковского высту- the first Diaghilev Festival in Russia. пил инициатором первого Дягилев- Sergei Diaghilev spent his childhood ского фестиваля в России. Пермь — in Perm, and the city is home to the город, в котором прошло детство Сер- world's only house-museum of this гея Дягилева и в котором находится legendary impresario. The building of единственный в мире Дом-музей the Perm Opera and Ballet Theatre was легендарного импресарио. Здание erected thanks to significant financial Пермского оперного театра было воз- support from Diaghilev himself. двигнуто благодаря значительной финансовой поддержке Дягилевых. A distinctive feature of the Perm Festival is not only its venue, but also Отличительная
    [Show full text]