DOCSLIB.ORG

UC San Diego UC San Diego Electronic Theses and Dissertations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
UC San Diego UC San Diego Electronic Theses and Dissertations UC San Diego UC San Diego Electronic Theses and Dissertations Title Worlds on view : visual art exhibitions and state identity in the late Cold War Permalink https://escholarship.org/uc/item/1qx6412x Author Holland, Nicole Murphy Publication Date 2010 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Worlds on View: Visual Art Exhibitions and State Identity in the Late Cold War A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History, Theory, and Criticism by Nicole Murphy Holland Committee in charge: Professor John C. Welchman, Chair Professor Norman Bryson Professor Robert Edelman Professor Grant Kester Professor Kuiyi Shen 2010 © Nicole Murphy Holland, 2010 All rights reserved. The Dissertation of Nicole Murphy Holland is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2010 iii This dissertation is dedicated to my beloved family, Lindsay, Emily, and Peter Holland, whose unswerving support and devotion has made this project possible. iv I didn’t know at the time that John Wayne was an American icon. I thought the painting was just another picture of a cowboy. Vladimir Mironenko, commenting on the painting John Wayne by Annette Lemieux. v Table of Contents Signature Page……………………………………………………………………… iii Dedication ……………………………………………………………………………iv Epigraph ………………………………………………………………………………v Table of Contents…………………………………………………………………… vi Acknowledgements ……………………………………………………………… viii Vita…………………………………………………………………………………… x Abstract………………………………………………………………………………xii Introduction……………………………………………………………………………1 Part 1: Theoretical Underpinnings………………………………………… 12 Part 2: Exhibition Functions……………………………………………… 18 Part 3: The Nature of Exhibition Space…………………………………… 20 Part 4: The Nature and Function of the Opposition and the Avant-Garde… 29 Part 5: Methodology……………………………………………………… 34 Part 6: Chapter Synopses………………………………………………… 37 Chapter One: The Origins of the National Fine Arts Exhibition………………… 45 Part 1: The Crystal Palace Exhibition, 1951 ……………………………… 58 Part 2: Exposition Universelle, Paris, 1855 ……………………………… 63 Part 3: Exposition Universelle, Paris, 1867…………………………………68 Part 4: Exposition Universelle, Paris, 1889 ……………………………… 70 Part 5: The Columbian Exposition, Chicago, 1893…………………………72 Part 6: The Wanderers………………………………………………………74 Part 7: Exposition Universelle, Paris, 1900 ……………………………… 77 Chapter Two: Twentieth-Century Nationalism: Selected Exhibitions, 1900-1958…82 Part 1: Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris, 1925……………………………………………………… 86 Part 2: Soviet Export Exhibitions, 1920s-1930s……………………………89 Part 3: Exposition Coloniale Internationale de Paris, 1931……………… 106 Part 4: Exposition Internationale des Arts et Techniques dans la Vie Moderne, Paris, 1937……………………………………………………… 110 Part 5: The World’s Fair, New York, 1939……………………………… 121 Part 6: Coda: Brussels, Exposition Universelle et Internationale, 1958… 134 Chapter Three: Cold War Constructs: Diplomatic and Cultural Histories of the Visual Arts Exhibition………………………………………………………… 140 vi Part 1: Cultural Exchange and Exhibitions in the Early Cold War, 1945-1962………………………………………………………………… 141 Part 2: U.S.-U.S.S.R. Cultural Exchange Agreements, 1958-59………… 152 Part 3: Exhibition Exchange 1959: The Soviet Exhibition of Science, Technology and Culture, New York and The American National Exhibition, Moscow……………………………………………………… 156 Part 4: The Family of Man…………………………………………………163 Part 5: Conspiracy Theory…………………………………………………168 Part 6: Early Cold War Exchange: Observations………………………… 172 Part 7: The Emergence of Culture Three………………………………… 175 Part 8: The Severe Style……………………………………………………176 Part 9: The Détente years (1972-1979), the Carter Chill (1980-1985), and the Late Cold War (1985-1991)……………………………………… 183 Part 10: The Bulldozer Exhibition, 1974………………………………… 192 Part 11: Sots Art………………………………………………………… 194 Part 12: The Singular Case of Ilya Kabakov………………………………197 Part 13: Exchange Restart: Glasnost and Perestroika (1985-1991)……… 204 Chapter Four: Worlds on View 10+10: Contemporary Soviet and American Painters …………………………………………………………………………… 210 Part 1: The Ministry of Culture of the U.S.S.R. and InterCultura, Inc.……210 Part 2: The Art of the Quiet: Unofficial Soviet Art of the Last Wave…… 219 Part 3: Glasnost…………………………………………………………… 242 Part 4: 10+10: The Exhibition…………………………………………… 244 Part 5: Histories, Counter-Histories and Codes……………………………255 Part 6: Nostalgia……………………………………………………………268 Part 7: Nostalgia II: The Clown and the Holy Martyr Saint………………269 Conclusion………………………………………………………………………… 281 Appendix: List of Interviews………………………………………………………309 List of Illustrations………………………………………………………………… 312 Illustrations…………………………………………………………………………320 Bibliography……………………………………………………………………… 345 vii Acknowledgments Research for this dissertation has been supported by generous grants from the following, to whom I extend my profound gratitude: the University of California, San Diego, Visual Arts Department, Dissertation Grant; University of California, San Diego, Division of Arts and Humanities, Center for the Humanities, Graduate Student Award; University of California, San Diego, Friends of the International Center Scholarship; University of California, San Diego, Russell Award; and the Wellesley College Stevens Traveling Fellowship. In addition, I would like to thank my committee for their patient, thoughtful and wise review of my work, and their extremely insightful and helpful suggestions. In particular, I acknowledge John C. Welchman, Committee Chair, to whom I extend my deep appreciation for undertaking the supervision of what committee member Norman Bryson once called an “epochal project.” My gratitude to John E. Bowlt (University of Southern California) and Yale Richmond, who opened their personal archives to me for review, as well as to the artists, art critics, art historians, diplomats and government officials in the United States, France and Russia (listed in the Appendix) who consented to be interviewed for this project is enormous. I would also like to thank Anton Bilchik, Nicholas Binkley, John E. Bowlt, James Bradburne, Hilary Brandt, Tressa Hamby, Susan Harris, Julie Hooper, Monica Jovanovich, Barbara Kruger, Dene Leopold, Roberta Manning, Georgy Litichevsky, Martin Manning, Lev Manovich, Brenda and Larry Mills, Viktor Misiano, Anne-Imelda M. Radice, Yale Richmond, Jane Sharp, Gordon Dee Smith, Andrew Solomon, Cindy viii and Tim Wollaeger, and Sandy Worcester for their many kindnesses and helpful suggestions at critical moments of this project. ix Vita Education Ph.D. University of California, San Diego, 2010 M.A. Courtauld Institute of Art, University of London, 1972 B.A. Wellesley College, 1971 History of Professional Employment and Activities 2007 Visiting faculty, VIS22, Formations of Modern Art University of California, San Diego (UCSD) 2007 Graduate Teaching Fellow, UCSD, VIS 22 (summer session) 2004-present A.P. Art History Instructor, The Bishop’s School, La Jolla CA 2001-3 Independent Curator and Fundraising Consultant 2000-1 Deputy Director and Director of Development, San Diego Historical Society 1995-2000 Independent Curator and Consultant 1992-1995 Assistant Curator of European Art, San Diego Museum of Art 1986-1991 Executive Vice-President, InterCultura, Fort Worth TX 1978-1986 Associate Curator, Kimbell Art Museum 1972-1978 Curatorial Assistant, Kimbell Art Museum Publications 2009 Catalogue, Dare to Be Simple: Irving Gill and The Bishop’s School, Wheeler J. Bailey Library, The Bishop’s School 2009 Catalogue, Impressionist Treasures from The Irvine Museum, Wheeler J. Bailey Library, The Bishop’s School 2008 “Irving Gill and The Bishop’s School,” Journal of the San Diego Historical Society, Fall, 2008 2007 Catalogue, Maurice Braun: The Hidden Treasure, UCSD, Mandeville Special Collections Library 2001 Curator’s statement, Capturing the Light, Visions of the Land; Southern California Impressionist Landscape Painting, San Diego: San Diego Historical Society 1993 Contributor, San Diego Museum of Art, Selections from the Permanent Collection, San Diego, California 1991 Preface, Mexican Retablo Painting: The Art of Private Devotion, Fort Worth: InterCultura and Dallas: Meadows Museum of Art 1982 “Reassembling a Triptych by Giovanni di Paolo,” The Burlington Magazine, XCCIV 1982 Editor and contributing author, Kimbell Art Museum: Handbook of the Collection 1980 Author, Recent Acquisitions: Prints and Drawings, Kimbell Art Museum 1979 Author, African Art, Kimbell Art Museum x 1978 “Henri Matisse & the Imitation of Christ,” The Print Collector’s Newsletter, IX 1978 Author, Oriental Rugs in the Kimbell Art Museum Conferences and Colloquia 2007 Selected paper, International Graduate Student Conference on the Cold War, org. George Washington University, London School of Economics, and University of California, Santa Barbara, Wash D.C., April 19-21 2006 Presenter, Ph.D. Colloquium, University of California, San Diego Exhibitions/Curatorial 2009 Curator, Dreams and Utopia: Irving Gill’s Designs for The Bishop’s School 2009 Coordinator, San Diego Plein-Air Painters, The Bishop’s School, La Jolla 2007 Curator, Maurice Braun: The Hidden Treasure, Mandeville Special Collections Library, UCSD 2006 UCSD Visual Research Group coordinator and researcher, Paper Traces: Latin American Prints and
Load more

Recommended publications
  • No Justice for Journalists in Ukraine, Belarus and Russia September 2011
    No Justice for Journalists in Ukraine, Belarus and Russia September 2011 ARTICLE 19 Free Word Centre 60 Farringdon Road London EC1R 3GA United Kingdom Tel: +44 20 7324 2500 Fax: +44 20 7490 0566 E-mail: [email protected] www.article19.org International Media Support (IMS) Nørregarde 18, 2nd floor 1165 Copenhagen K Denmark Tel: +45 88 32 7000 Fax: +45 33 12 0099 E-mail: [email protected] www.i-m-s.dk ISBN: 978-1-906586-27-0 © ARTICLE 19 and International Media Support (IMS), London and Copenhagen, August 2011 This work is provided under the Creative Commons Attribution-Non-Commercial-ShareAlike 2.5 licence. You are free to copy, distribute and display this work and to make derivative works, provided you: 1) give credit to ARTICLE 19 and International Media Support (IMS); 2) do not use this work for commercial purposes; 3) distribute any works derived from this publication under a licence identical to this one. To access the full legal text of this licence, please visit: http://creativecommons.org/licenses/by-nc-sa/2.5/ legalcode. ARTICLE 19 and International Media Support (IMS) would appreciate receiving a copy of any materials in which information from this report is used. This report was written and published within the framework of a project supported by the International Media Support (IMS) Media and Democracy Programme for Central and Eastern Europe and the Caucasus. It was compiled and written by Nathalie Losekoot, Senior Programme Officer for Europe at ARTICLE 19 and reviewed by JUDr. Barbora Bukovskà, Senior Director for Law at ARTICLE 19 and Jane Møller Larsen, Programme Coordinator for the Media and Democracy Unit at International Media Support (IMS).
    [Show full text]
  • Zoning for Dollars: New Rules for an Old Game? Comments on the Municipal Art Society and Nollan Cases Jerold S
    Urban Law Annual ; Journal of Urban and Contemporary Law Volume 39 January 1991 Zoning for Dollars: New Rules for an Old Game? Comments on the Municipal Art Society and Nollan Cases Jerold S. Kayden Follow this and additional works at: https://openscholarship.wustl.edu/law_urbanlaw Part of the Law Commons Recommended Citation Jerold S. Kayden, Zoning for Dollars: New Rules for an Old Game? Comments on the Municipal Art Society and Nollan Cases, 39 Wash. U. J. Urb. & Contemp. L. 3 (1991) Available at: https://openscholarship.wustl.edu/law_urbanlaw/vol39/iss1/2 This Article is brought to you for free and open access by the Law School at Washington University Open Scholarship. It has been accepted for inclusion in Urban Law Annual ; Journal of Urban and Contemporary Law by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. ZONING FOR DOLLARS: NEW RULES FOR AN OLD GAME? COMMENTS ON THE MUNICIPAL AR T SOCIETY AND NOLLAN CASES Jerold S. Kayden * Faced with mounting social needs and continuing fiscal constraints, more and more cities "mint" money through their zoning codes to fi- nance a wide array of public amenities. Through the land use regula- tory technique formally known as "incentive zoning," cities grant private real estate developers the legal right to disregard zoning restric- tions in return for their voluntary agreement to provide urban design features such as plazas, atriums, and parks, and social facilities and services such as affordable housing, day care centers, and job training. Since its inception some thirty years ago,' incentive zoning has enjoyed broad support from developers and their attorneys, avoiding the legal challenges commonly brought against land use regulations requiring * A.B.
    [Show full text]
  • The Influence of Kitchen Sink Drama in John Osborne's
    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 23, Issue 9, Ver. 7 (September. 2018) 77-80 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org The Influence of Kitchen Sink Drama In John Osborne’s “ Look Back In Anger” Sadaf Zaman Lecturer University of Bisha Kingdom of Saudi Arabia Corresponding Author: Sadaf Zaman ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission:16-09-2018 Date of acceptance: 01-10-2018 ----------------------------------------------------------------------------------------------------------------------- ---------------- John Osborne was born in London, England in 1929 to Thomas Osborne, an advertisement writer, and Nellie Beatrice, a working class barmaid. His father died in 1941. Osborne used the proceeds from a life insurance settlement to send himself to Belmont College, a private boarding school. Osborne was expelled after only a few years for attacking the headmaster. He received a certificate of completion for his upper school work, but never attended a college or university. After returning home, Osborne worked several odd jobs before he found a niche in the theater. He began working with Anthony Creighton's provincial touring company where he was a stage hand, actor, and writer. Osborne co-wrote two plays -- The Devil Inside Him and Personal Enemy -- before writing and submittingLook Back in Anger for production. The play, written in a short period of only a few weeks, was summarily rejected by the agents and production companies to whom Osborne first submitted the play. It was eventually picked up by George Devine for production with his failing Royal Court Theater. Both Osborne and the Royal Court Theater were struggling to survive financially and both saw the production of Look Back in Anger as a risk.
    [Show full text]
  • Vkhutemas Centenary Press Release
    VKhUTEMAS Centenary 1 July – 31 August Timed to coincide with the centenary of the founding of the school, our exhibition of rare, vintage photographs, documents the (now destroyed) sculptures and models created by students of the school. Founded in Moscow in 1920, the VKhUTEMAS (Higher Artistic and Technical Workshops) was the result of the merging of several artistic schools. Established by a decree from Vladimir Lenin, it merged art, life and technology, and was a center for three major movements in avant-garde art and architecture: constructivism, rationalism, and suprematism. Tutors at VKhUTEMAS included many ground-breaking innovators, like artist Alexander RODCHENKO and like-minded peers such as his textile designer wife Varvara STEPANOVA, painter Lyubov POPOVA, and architect Nikolai LADOVSKY. In the aftermath of the Russian Revolution, the VKhUTEMAS united the most creative contemporaries of the young Soviet Union; classical and modern art as well as architecture were taught with the aim of improving the living conditions of the masses. Ideological tensions between adherents of the so-called 'rationalist' approach and the ‘constructivist’ devotees, along with dictatorial regimes, led to the closing of the school in 1930. Although most of the projects have remained on paper, it had a tremendous impact on the Russian avant-garde and its legacy remains influential even in these days. The centenary of the school is being celebrated with a series of exhibitions and events throughout the year, such as 'VKhUTEMAS 100', at the Bauhaus Center of Tel Aviv, a major exhibition at the Museum of Moscow, and the International Scientific Conference: “VKHUTEMAS Space in World Culture of the XX– XXI Centuries”.
    [Show full text]
  • Bauhaus 1 Bauhaus
    Bauhaus 1 Bauhaus Staatliches Bauhaus, commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally "house of construction" stood for "School of Building". The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a The Bauhaus Dessau 'total' work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, 1921/2, Walter Gropius's Expressionist Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe Monument to the March Dead from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it.
    [Show full text]
  • Spring 2004 Professor Caroline A. Jones Lecture Notes History, Theory and Criticism Section, Department of Architecture Week 9, Lecture 2
    MIT 4.602, Modern Art and Mass Culture (HASS-D) Spring 2004 Professor Caroline A. Jones Lecture Notes History, Theory and Criticism Section, Department of Architecture Week 9, Lecture 2 PHOTOGRAPHY, PROPAGANDA, MONTAGE: Soviet Avant-Garde “We are all primitives of the 20th century” – Ivan Kliun, 1916 UNOVIS members’ aims include the “study of the system of Suprematist projection and the designing of blueprints and plans in accordance with it; ruling off the earth’s expanse into squares, giving each energy cell its place in the overall scheme; organization and accommodation on the earth’s surface of all its intrinsic elements, charting those points and lines out of which the forms of Suprematism will ascend and slip into space.” — Ilya Chashnik , 1921 I. Making “Modern Man” A. Kasimir Malevich – Suprematism 1) Suprematism begins ca. 1913, influenced by Cubo-Futurism 2) Suprematism officially launched, 1915 – manifesto and exhibition titled “0.10 The Last Futurist Exhibition” in Petrograd. B. El (Elazar) Lissitzky 1) “Proun” as utopia 2) Types, and the new modern man C. Modern Woman? 1) Sonia Terk Delaunay in Paris a) “Orphism” or “organic Cubism” 1911 b) “Simultaneous” clothing, ceramics, textiles, cars 1913-20s 2) Natalia Goncharova, “Rayonism” 3) Lyubov Popova, Varvara Stepanova stage designs II. Monuments without Beards -- Vladimir Tatlin A. Constructivism (developed in parallel with Suprematism as sculptural variant) B. Productivism (the tweaking of “l’art pour l’art” to be more socialist) C. Monument to the Third International (Tatlin’s Tower), 1921 III. Collapse of the Avant-Garde? A. 1937 Paris Exposition, 1937 Entartete Kunst, 1939 Popular Front B.
    [Show full text]
  • El Lissitzky Letters and Photographs, 1911-1941
    http://oac.cdlib.org/findaid/ark:/13030/tf6r29n84d No online items Finding aid for the El Lissitzky letters and photographs, 1911-1941 Finding aid prepared by Carl Wuellner. Finding aid for the El Lissitzky 950076 1 letters and photographs, 1911-1941 ... Descriptive Summary Title: El Lissitzky letters and photographs Date (inclusive): 1911-1941 Number: 950076 Creator/Collector: Lissitzky, El, 1890-1941 Physical Description: 1.0 linear feet(3 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: The El Lissitzky letters and photographs collection consists of 106 letters sent, most by Lissitzky to his wife, Sophie Lissitzky-Küppers, along with his personal notes on art and aesthetics, a few official and personal documents, and approximately 165 documentary photographs and printed reproductions of his art and architectural designs, and in particular, his exhibition designs. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in German Biographical/Historial Note El Lissitzky (1890-1941) began his artistic education in 1909, when he traveled to Germany to study architecture at the Technische Hochschule in Darmstadt. Lissitzky returned to Russia in 1914, continuing his studies in Moscow where he attended the Riga Polytechnical Institute. After the Revolution, Lissitzky became very active in Jewish cultural activities, creating a series of inventive illustrations for books with Jewish themes. These formed some of his earliest experiments in typography, a key area of artistic activity that would occupy him for the remainder of his life.
    [Show full text]
  • The Russian Avant-Garde 1912-1930" Has Been Directedby Magdalenadabrowski, Curatorial Assistant in the Departmentof Drawings
    Trustees of The Museum of Modern Art leV'' ST,?' T Chairm<ln ,he Boord;Ga,dner Cowles ViceChairman;David Rockefeller,Vice Chairman;Mrs. John D, Rockefeller3rd, President;Mrs. Bliss 'Ce!e,Slder";''i ITTT V P NealJ Farrel1Tfeasure Mrs. DouglasAuchincloss, Edward $''""'S-'ev C Burdl Tn ! u o J M ArmandP Bar,osGordonBunshaft Shi,| C. Burden,William A. M. Burden,Thomas S. Carroll,Frank T. Cary,Ivan Chermayeff, ai WniinT S S '* Gianlui Gabeltl,Paul Gottlieb, George Heard Hdmilton, Wal.aceK. Harrison, Mrs.Walter Hochschild,» Mrs. John R. Jakobson PhilipJohnson mM'S FrankY Larkin,Ronalds. Lauder,John L. Loeb,Ranald H. Macdanald,*Dondd B. Marron,Mrs. G. MaccullochMiller/ J. Irwin Miller/ S.I. Newhouse,Jr., RichardE Oldenburg,John ParkinsonIII, PeterG. Peterson,Gifford Phillips, Nelson A. Rockefeller* Mrs.Albrecht Saalfield, Mrs. Wolfgang Schoenborn/ MartinE. Segal,Mrs Bertram Smith,James Thrall Soby/ Mrs.Alfred R. Stern,Mrs. Donald B. Straus,Walter N um'dWard'9'* WhlTlWheeler/ Johni hTO Hay Whitney*u M M Warbur Mrs CliftonR. Wharton,Jr., Monroe * HonoraryTrustee Ex Officio 0'0'he "ri$°n' Ctty ot^New^or^ °' ' ^ °' "** H< J Goldin Comptrollerat the Copyright© 1978 by TheMuseum of ModernArt All rightsreserved ISBN0-87070-545-8 TheMuseum of ModernArt 11West 53 Street,New York, N.Y 10019 Printedin the UnitedStates of America Foreword Asa resultof the pioneeringinterest of its first Director,Alfred H. Barr,Jr., TheMuseum of ModernArt acquireda substantialand uniquecollection of paintings,sculpture, drawings,and printsthat illustratecrucial points in the Russianartistic evolution during the secondand third decadesof this century.These holdings have been considerably augmentedduring the pastfew years,most recently by TheLauder Foundation's gift of two watercolorsby VladimirTatlin, the only examplesof his work held in a public collectionin the West.
    [Show full text]
  • "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937
    "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Johnson, Samuel. 2015. "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463124 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 A dissertation presented by Samuel Johnson to The Department of History of Art and Architecture in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History of Art and Architecture Harvard University Cambridge, Massachusetts May 2015 © 2015 Samuel Johnson All rights reserved. Dissertation Advisor: Professor Maria Gough Samuel Johnson “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 Abstract Although widely respected as an abstract painter, the Russian Jewish artist and architect El Lissitzky produced more works on paper than in any other medium during his twenty year career. Both a highly competent lithographer and a pioneer in the application of modernist principles to letterpress typography, Lissitzky advocated for works of art issued in “thousands of identical originals” even before the avant-garde embraced photography and film.
    [Show full text]
  • Huq, Rupa. "Pastoral Paradises and Social Realism: Cinematic Representations of Suburban Complexity." Making Sense of Suburbia Through Popular Culture
    Huq, Rupa. "Pastoral Paradises and Social Realism: Cinematic Representations of Suburban Complexity." Making Sense of Suburbia through Popular Culture. London: Bloomsbury Academic, 2013. 83–108. Bloomsbury Collections. Web. 25 Sep. 2021. <http:// dx.doi.org/10.5040/9781472544759.ch-004>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 04:19 UTC. Copyright © Rupa Huq 2013. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 4 Pastoral Paradises and Social Realism: Cinematic Representations of Suburban Complexity I never wanted to get into this rat-race but now that I’m in it I think I’d be a fool not to play it just like everyone else plays it. (Gregory Peck as Tom Rath, Th e Man in the Gray Flannel Suit , 1956) Th e cinema in its literal sense has been both a landmark of the suburban-built environment and staple source of popular culture in the post-war era: with the Regals, Gaumonts, UCGs and ABCs off ering relatively cheap escapism from everyday mundanity and routine. Th e cinema has served the function of a venue for suburban courtship for couples and entertainment for fully formed family units with the power to move audiences to the edge of their seats in suspense or to tears – be that laughter or of sadness. While the VHS and advent of domestic video recorders was seen to threaten the very existence of the cinema, many suburban areas have seen the old high street picture palaces replaced/displaced/ succeeded by out-of-town complexes where suburbia has sometimes been the subject on the screen as well as the setting of the multiplex they are screened in.
    [Show full text]
  • Elena Sannikova Papers
    http://oac.cdlib.org/findaid/ark:/13030/c8wh2wkw No online items Inventory of the Elena Sannikova papers Finding aid prepared by Hoover Institution Archives Staff Hoover Institution Archives 434 Galvez Mall Stanford University Stanford, CA, 94305-6003 (650) 723-3563 [email protected] © 2019 Inventory of the Elena Sannikova 2019C8 1 papers Title: Elena Sannikova papers Date (inclusive): 1974-2018 Collection Number: 2019C8 Contributing Institution: Hoover Institution Archives Language of Material: Russian Physical Description: 12 manuscript boxes, 1 oversize box(7.0 linear feet) Abstract: Diaries, writings, correspondence, printed matter, and photographs relating to the status of civil liberties and to political prisoners in the Soviet Union and in post-Soviet Russia. Physical Location: Hoover Institution Archives Creator: Sannikova, Elena Access The collection is open for research; materials must be requested at least two business days in advance of intended use. Publication Rights For copyright status, please contact the Hoover Institution Archives. Preferred Citation [Identification of item], Elena Sannikova papers, [Box no., Folder no. or title], Hoover Institution Archives Acquisition Information Materials were acquired by the Hoover Institution Archives in 2018. Accruals Materials may have been added to the collection since this finding aid was prepared. To determine if this has occurred, find the collection in Stanford University's online catalog at http://searchworks.stanford.edu/ . Materials have been added to the collection if the number of boxes listed in the catalog is larger than the number of boxes listed in this finding aid. Biographical Note Elena Sannikova (born 1959), was a Soviet and Russian human rights activist and political writer.
    [Show full text]
  • Post-Authenticity: Literary Dialect and Realism in Victorian and Neo-Victorian Social Novels
    1 Post-Authenticity: Literary Dialect and Realism in Victorian and Neo-Victorian Social Novels By: Suzanne Pickles A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities School of English July 2018 2 Abstract This thesis considers what a post-authenticity approach to literary dialect studies should be. Once we have departed from the idea of literary dialect studies being engaged in ascertaining whether or not the fictional representation of nonstandard speech varieties can be matched with those same varieties in the external world, how should we study the dialect we find in novels? I argue that literary dialect studies should be placed within critical work on the realist novel, since the representation of speech, like the broader field of realism, aims to reflect an external world, one with which the reader can identify. This, as yet, has not been done. My approach is to place greater emphasis on the role of the reader. I consider the ways in which writers use literary dialect to manage readers’ responses to characters, and the nature of those responses. I give a close reading of Victorian and neo-Victorian novels to show that, whilst the subject matter of these works has changed over time to suit a modern readership, the dialect representation – its form and the attitudes to language usage it communicates – is conservative. Referring to recent surveys, and through my own research with real readers, I show that nonstandard speakers are still regarded as less well-educated and of a lower social class than those who speak Standard English.
    [Show full text]