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The Russian Avant-Garde Andthe Emigration by John E Pllbllsbedby IheCollege AnAssocImion ofAmerlca ArtJOU11 Foil 1981 EI Lissitzky, Design for the cover ofthe exhibition catalog for Die Erste Russische Kunst. Downloaded by [University of South Dakota] at 06:15 16 March 2015 I I h"'I" I Y/h _In' . " r~ ,,1 ""0 1 " Publisbed by tbeCollege Art Assodation Art]oumal ofAmerlca Guest Editor Gail Harrison Roman Museum NewsEditor Charles C. Eldredge Boo"Review Editorjennifer Licht Managing Editor Rose R. Weil CopyEditor Frances Preston AdvertisingRepresentative Catherine M. Shanley Editorial Board AnneCoffin Hanson, Ellen Lanyon, George Sadek, Jroing Sandler Design The Cooper Union Centerfor Design and Typography Art journal ISSN (0004-3249) is published The Russian AIlant-Garde quarterly by the College Art Association of America, Inc., at 16 East 52 Street, New York, Editor's Statement byGail Harrison Roman 207 NY 10022.Copyright 1981, College ArtAssoci­ ation of America, Inc. All rights reserved. No The Leonard Hutton Galleries' Involvement with Russian Avant-Garde Artby Ingrid Hutton 211 part of the contents may be reproduced with­ out the written permission of the publisher. Artin Exile: The Russian Avant-Garde andthe Emigration by John E. Bowlt215 Second Class postage paid at New York, NY, and at additional mailing offices. Printed by AConversation with Vladimir Stenberg by Alma H. Law 222 the Waverly Press, Inc., Baltimore, Maryland. Artjournal is available through member­ Kazimir Malevich byE.F. Kovtun, translated from theRussian by Charlotte Douglas 234 shipin theCollege ArtAssociation ofAmerica. Subscriptions for nonmembers $12 per year, Autoanimals (Samozverl) bySergei Mikhailovich Tretiakov, translated by Susan Cook Summer I single issues $3.50. Notes on Autoanimals by Susan Cook Summer and Gail Harrison Roman I Cinematic Whimsey: For membership and subscription informa­ Rodchenko's illustrations for Autoanimals byGail Harrison Roman 242 tion call or write 00, 16 East 52 Street, New York, NY 10022, (212) 755-3532. Two Contemporary Artists Comment: Less is Less byGeorge Rickey I Donald Judd 248 Advertising information andrates available from Catherine M. Shanley, 663 Fifth Avenue, Museum News: Who Pours the Tea? by Charles C. Eldredge I Van Gogh and Cloisonism by Henri New York, NY 10022, (212) 757-6454. DorraI Gorky attheGuggenheim by JimM. Jordan 251 Boolls in Review: Virginia Spate, Orphism: The Evolution ofNon-figurative Painting in Paris 1910-1914, reviewed by William A. Camfield; Ralph E. Shikes andPaula Harper, Pissarro: His Life Downloaded by [University of South Dakota] at 06:15 16 March 2015 and Work, reviewed by Richard Brenell; Le Corbusier Sketchbooks, Volume 1, 1914-1948, reviewed byMary Mcleod 267 Boolls andCatalogsReceived279 Correspondence fortheArtjournalshould be addressed totheManaging Editor attheCollege Art Association, 16 East 52 Street, New York, NY 10022. Fall19S1 205 Editor's Statement: Gail Harrison Ro"",n The Russian Avant-Garde The sociopolitical gap that has divided Soviet social transformation and artistic re-assess­ Garde art-aggravated by occasional (but Russia andthe West during most ofthis century ment that marked them. The issue ofemigration nevertheless damaging) uninformed published hasinspired much mutual curiosity about artis­ was (as it still is today) anextremely sensitive commentary-sends a shudder through the tic-among many other-activities. Owing to one. art world today. As a relatively new subject in greater freedom andflow ofinformation, we in Alma Law's interview with thelastsurviving thefield ofart history, the Russian Avant-Garde the West have been better able to indulge this Constructivist, Vladimir Stenberg, provides us presents not only the joys of discovery and curiosity. It is significant that this curiosity with a rare personal view into the artworld of re-interpretation, butalso thepitfalls ofover­ seems destined to be continually whetted by the1920s inRussia; itisinsightful andinform­ enthusiasm and relative underexposure. exhibitions andpublications, I butnever sated! ative, humorous andtouching. We aresimilarly Greater artistic detente is necessary-not In particular, the more information we gain pleased topresent Charlotte Douglas's transla­ only among western and Soviet scholars, but about the period of Russian Avant-Garde art tion from the Russian of an essay on Kasimir also within lessglobal academic andcommer­ (circa I9IO-<irca 1930)-officially ignored Malevich that includes previously unpublished cial circles. Broader participation insymposia, in the Soviet Union since the declaration of material by Evgenii Kovtun, Curator ofGraphics exhibitions, and publications is also needed, Social Realism in theearly 1930s--the more attheState Russian Museum inLeningrad. The asisincreased access toartworks and archives wedesiretolearnabout itandtoevaluate itin participation of these few Soviet scholars and in theSoviet Union. terms ofthedevelopment oftwentieth-century remaining artists of the Avant-Garde is a rare Today, museums, galleries, collectors, and art. This issue oftheArtjournal isoneofmany privilege for an American journal andis cer­ scholars are more eager than ever to learn currentmanifestations ofsuch interest. tainly a welcome addition. about the Russian Avant-Garde. Much recent The Russian Avant-Garde of artists, archi­ The close relationship between literature activity around the world attests to this vital tects, writers, and critics was not a stylistic and art that characterized the Russian Avant­ interest, andwebelieve that itwill bea lasting phenomenon (since itencompassed Futurism, Garde was represented by numerous publica­ one. Suprematism, andConstructivism, among other tions that resulted from the collaboration of Indeed, theRussian Avant-Garde represents styles), nor can it be identified with a single writers and artists. One such projected work a sociopolitical phenomenon in the twentieth aesthetic. Itsartist members--the best known was a delightfully silly poem, "Autoanimals," century, butitslegacy remains intheart itself: being David Burliuk, Natalia Goncharova, Mik­ written by Sergei Tretiakov and illustrated by especially insuch stylistic andtechnical devel­ hail Larionov, El Lissitzky, Kasimir Malevich, Alexander Rodchenko in 1926. Until this witty opments as dynamic nonobjectivity and bold Liubov Popova, Alexander Rodchenko, Olga translation bySusan Cook Summer, "Autoani­ photomontage and in such revolutionary cri­ Rozanova, the Stenbergs, Vavara Stepanova, mals" was untranslated and unpublished in teria as utilitarian productivism and utopian Vladimir TatUn-were dedicated to creating English. The photo-illustrations are indicative aesthetics. The impact ofRussian Avant-Garde new abstract or non-objective art forms that of the artistic innovation and synthesis that art, which shared many affinities with contem­ would satisfy both aesthetic and utilitarian marked much Russian artofthe1920s. poraneous western movements (among them criteria. They were allied to the social, eco­ We were eager to include some essays by Cubism, Futurism, Dada, Bauhaus), has been nomic, andpolitical goals ofthe1917 Revolu­ contemporary artists for two reasons. First, felt in the West since it was first exhibited tion and sought to match its anti-traditional artists often have intuitions and insights not abroad at theGalerie van Diemen in Berlin in stance in their art. All mediums were trans­ necessarily accessible tothe historian or critic. 1922. That impact has reverberated since then formed bytheAvant-Garde: painting, sculpture, secondly, there has been for the past twenty in Europe andthe United States as a result of graphics, photography, film, theater sets and years or soa concensus that some post-World emigrations, exhibitions, and publications. It costumes, architecture, and industrial and War II American art shares an affinity with is to the creative spirit of the Russian Avant­ domestic design. Russian Suprematism andConstructivism. Al­ Garde andtothecontinued worldwide interest We are pleased to present a wide variety of though we do not seek to demonstrate or to initssocial andartistic history that this issue is themes and approaches in this issue, andwe disprove this suggestion and although the artists' dedicated.! End areespecially proud toinclude alarge number statements do notdirectly address this issue, Downloaded by [University of Illinois at Urbana-Champaign] 09:59 05 October 2014 of previously unpublished photographs and weconsider theinterest in the Russian Avant­ Notes much original material, allofwhich addtoour Garde bya number ofcontemporary artists to I Alisting ofthese publications and exhibitions understanding of the art and artists of this besignificant initself. Donald Juddhas written appears inthe chronologies by Margaret Bridget unique period. a critical and impressionistic analysis of the Betz and myself inthe groundbreaking catalog As a pioneer motivating force behind the Russian Avant-Garde, and George Rickey has The Auant-Garde in Russia, 1910-1930: American interest in the Russian Avant-Garde, sharedwith ushisideas onthis art'scontext in New Perspectives, ed. Stephanie Barron and Ingrid Hutton shares with us memories and light ofrecent artistic developments. Maurice Tuchman, Los Angeles County Museum impressions of her contacts with some of its Ina sense, each new exhibition and each new ofArt, 1980. surviving members andofher search for fine publication ontheRussian Avant-Garde repre­ 2The editor wishes tothank Rosalind T. Harrison examples oftheirwork. sents a plea: a plea
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