Chagall, Lissitzky, Malevich: the Russian Avant-Garde in Vitebsk, 1918-1922 the Jewish Museum September 14, 2018-January 6, 2019

Total Page:16

File Type:pdf, Size:1020Kb

Chagall, Lissitzky, Malevich: the Russian Avant-Garde in Vitebsk, 1918-1922 the Jewish Museum September 14, 2018-January 6, 2019 Chagall, Lissitzky, Malevich: The Russian Avant-Garde in Vitebsk, 1918-1922 The Jewish Museum September 14, 2018-January 6, 2019 Checklist SECOND FLOOR CORRIDOR AND ELEVATOR LOBBY FILM CLIP TO PROJECT ON WALL ACROSS SECOND FLOOR ELEVATOR Chronicle of the Russian Revolution, 1917 32mm film, black-and-white, silent, fifteen-second extract Gaumont Pathé Archives, Saint-Ouen, France GRAPHIC-PHOTO BLOW UP (before entrance to exhibition) Teachers, students, and employees of the Vitebsk People's Art School, Winter 1919-20 Archives Marc et Ida Chagall, Paris Exhibition Gallery 1: KAPLAN GALLERY SECTION 1: POST-REVOLUTIONARY FERVOR IN VITEBSK Marc Chagall (1887–1985) Study for Double portrait with Wine Glass, 1917 Graphite and watercolor on the back of a Cyrillic print, framed dimensions 21 7/8 x 16 15/16 in. (55.5 x 43 cm); 27.8 x 15.6 cm Centre Pompidou, Musée Nationale d’Art Moderne, Paris , donation in lieu of inheritance tax, 1988 Marc Chagall (1887–1985) Double portrait with Wine Glass, [1917-18] Oil on canvas, framed dimensions: 97 ¼ x 58 11/16 in. (247 x 149 cm); 92 ½ x 53 15/16 in. (235 x 137 cm) Centre Pompidou, Musée Nationale d’Art Moderne, Paris, gift of the artist, 1949 David Yakerson (1896–1947) Sketch for the Composition “Panel with the Figure of a Worker,” 1918 Watercolor and ink on paper, framed dimensions: 30 15/16 x 25 in. (78.5 x 63.5 cm) ; 18 ½ x 13 3/8 in. (47 x 34 cm) Vitebsk Regional Museum of Local History David Yakerson (1896–1947) Red Guards, 1918 Watercolor and ink on paper, framed dimensions: 30 15/16 x 25 in. (78.5 x 63.5 cm); 58 x 42 cm Vitebsk Regional Museum of Local History David Yakerson (1896–1947) Sketch for the composition "Construction of the Palace of Labor," 1918 Pen and ink, watercolor, and graphite on paper, framed dimensions: 17 1/8 x 21 11/16 in. (43.5 x 55.5 cm); 10 ¼ x 14 3/16 in. (26 x 36 cm) Vitebsk Regional Museum of Local History Marc Chagall (1887–1985) Onward, Onward, 1918 Study for the first anniversary of the October Revolution Graphite and gouache on gridlined paper, framed dimensions. 16 15/16 x 21 7/8 x 1 1/16 in. (43 x 55.5 x 2.7 cm); 9 ¼ x 13 ¼ in. (23.4 x 33.7 cm) Centre Pompidou, Musée Nationale d’Art Moderne, Paris, donation in lieu of inheritance tax, 1988 Marc Chagall (1887–1985) Rider Blowing a Horn, 1918 Watercolor, graphite, and gouache on paper, framed dimensions: 20 7/8 x 24 13/16 x 5/8 in. (53 x 63 x 1.5 cm); 23 x 30 cm Private Collection Marc Chagall (1887–1985) Man with His Head Thrown Back, 1919 Oil on cardboard mounted on panel, framed dimensions: 27 1/8 x 23 5/8 x 1 3/16 in. (68.9 x 60 x 3 cm); 22 7/16 x 18 ½ in. (57 x 47 cm) Private Collection Celebrations in Vitebsk, 1918 32mm film, black-and-white, silent, one-minute extract Belarusian State Archives of Film and Photography, Dzerzhinsk Marc Chagall (1887–1985) Anywhere out of the World, 1915-19 Oil on cardboard mounted on canvas, framed dimensions 34 ¼ x 29 1/8 x 2 in. (87 x 74 x 5 cm); 61 x 47.5 cm The Museum of Modern Art, Gunma, Japan, extended Loan from the Bureau of Public Utilities, Gunma Prefectural Government Marc Chagall (1887–1985) Self-Portrait with Easel, 1919 Gouache on paper, framed dimensions: 16 15/16 x 18 ½ x 2 in. (43 x 47 x 5 cm); 7 5/16 x 8 7/8 in. (18.5 x 22.5 cm) Private Collection Marc Chagall (1887–1985) Composition with a Goat, 1917-20 Oil, ink, graphite, and gum arabic on card stock, framed dimensions: 11 13/16 x 15 ¾ x 13/16 in. (30 x 40 x 2 cm); 16.5 x 24 cm Private Collection Marc Chagall (1887–1985) Profile at the Window, 1918 Graphite, gouache, and ink on cardboard, framed dimensions 22 5/8 x 17 11/16 x 1 5/8 in. (57.5 x 44.9 x 4.1 cm); 22 x 16.8 cm Centre Pompidou, Musée Nationale d’Art Moderne, Paris, donation in lieu of inheritance tax, 1988 Marc Chagall (1887–1985) Sketch for Purim, 1916–17 Ink and watercolor on paper, framed dimensions: 28 ¾ x 33 11/16 x 13/16 in. (73 x 85.5 x 2 cm); 46 x 62 cm Private Collection Marc Chagall (1887–1985) The Embroidered Shirt, 1919 Page from a notebook, colored ink and lace print on paper, framed dimensions: 30 15/16 x 25 x 1 1/16 in. (78.5 x 63.5 x 2.7 cm); 47.2 x 34 cm Centre Pompidou, Musée Nationale d’Art Moderne, Paris, donation in lieu of inheritance tax, 1988 Marc Chagall (1887–1985) A Gentleman, 1920 Page from a notebook, ink on paper, framed dimensions: 30 15/16 x 25 x 1 1/6 in. (78.5 x 63.5 x 2.7 cm); 46.9 x 32.4 cm; Centre Pompidou, Musée Nationale d’Art Moderne, Paris, donation in lieu of inheritance tax, 1988 Marc Chagall (1887–1985) “To What Use Will This Limpid Clarity Be to Me?” (Village Walking), illustration for David Hofstein’s “Mourning,” 1920 Ink on vellum, framed dimensions: 21 7/8 x 16 15/16 x 1 1/16 in. (55.5 x 43 x 2.7 cm); 32.6 x 29 cm; Centre Pompidou, Musée Nationale d’Art Moderne, Paris, donation in lieu of inheritance tax, 1988 Marc Chagall (1887–1985) The Abduction, 1920 Page from a notebook, ink and lace prints on paper, framed dimensions: 25 x 30 15/16 x 1 1/16 in. (63.5 x 78.5 x 2.7 cm); 34 x 47.1 cm Centre Pompidou, Musée Nationale d’Art Moderne, Paris, donation in lieu of inheritance tax, 1988 Marc Chagall (1887–1985) The Traveler, [1918], dated 1914 Gouache and black ink on dark paper, framed dimensions: 16 9/16 x 14 5/8 x 1 in. (42 x 37 x 2.5 cm); 20 x 18 cm Private Collection Marc Chagall (1887–1985) The Moon-Painter, 1916-17 Gouache, watercolor, and ink on paper, framed dimensions: 21 ½ x 22 7/16 x 1 3/16 in. (54.5 x 57 x 3 cm); 32 x 30 cm Private Collection Marc Chagall (1887–1985) The Old Man with Glasses, 1920 Gouache on paper, framed dimensions: 19 15/16 x 19 5/16 x 1 3/8 in. (50.5 x 49 x 3.5 cm); 23.5 x 24 cm Private Collection In Display Case El Lissitzky (1890–1941) Had Gadya Suite: Cover, 1919 Lithograph on paper, 16 × 14 in. (40.6 × 35.6 cm) The Jewish Museum, New York . Gift of Leonard E. and Phyllis S. Greenberg, 1986-121a El Lissitzky (1890-1941) Had Gadya Suite: Father Bought a Kid for Two Zuzim, 1919 Lithograph on paper, 16 × 14 in. (40.6 × 35.6 cm) The Jewish Museum, New York . Gift of Leonard E. and Phyllis S. Greenberg, 1986-121c El Lissitzky (1890-1941) Had Gadya Suite: The Cat Came and Devoured the Kid, 1919 Lithograph on paper, 16 × 14 in. (40.6 × 35.6 cm) 10 3/4 × 10 in. (27.3 × 25.4 cm) The Jewish Museum, New York . Gift of Leonard E. and Phyllis S. Greenberg, 1986-121d El Lissitzky (1890-1941) Had Gadya Suite: The Dog Came and Bit the Cat, 1919 Lithograph on paper, 16 × 14 in. (40.6 × 35.6 cm) The Jewish Museum, New York . Gift of Leonard E. and Phyllis S. Greenberg, 1986-121e El Lissitzky (1890-1941) Had Gadya Suite: The Stick Came and Beat the Dog, 1919 Lithograph on paper, 16 × 14 in. (40.6 × 35.6 cm) The Jewish Museum, New York. Gift of Leonard E. and Phyllis S. Greenberg, 1986-121f El Lissitzky (1890-1941) Had Gadya Suite: The Fire Came and Burnt the Stick, 1919 Lithograph on paper, 16 × 14 in. (40.6 × 35.6 cm) The Jewish Museum, New York . Gift of Leonard E. and Phyllis S. Greenberg, 1986-121g El Lissitzky (1890-1941) Had Gadya Suite: The Water Came and Extinguished the Fire, 1919 Color lithograph on paper, 16 × 14 in. (40.6 × 35.6 cm) The Jewish Museum, New York . Gift of Leonard E. and Phyllis S. Greenberg, 1986-121h El Lissitzky (1890-1941) Had Gadya Suite: The Ox Came and Drank the Water, 1919 Lithograph on paper, 16 × 14 in. (40.6 × 35.6 cm) The Jewish Museum, New York. Gift of Leonard E. and Phyllis S. Greenberg, 1986-121i El Lissitzky (1890-1941) Had Gadya Suite: The Slaughterer Came and Slaughtered the Ox, 1919 Lithograph on paper, 16 × 14 in. (40.6 × 35.6 cm) The Jewish Museum, New York. Gift of Leonard E. and Phyllis S. Greenberg, 1986-121j El Lissitzky (1890-1941) Had Gadya Suite: The Angel of Death Came and Slew the Slaughterer, 1919 Lithograph on paper, 16 × 14 in. (40.6 × 35.6 cm) The Jewish Museum, New York. Gift of Leonard E. and Phyllis S. Greenberg, 1986-121k El Lissitzky (1890-1941) Had Gadya Suite: Then Came the Most Holy and Slew the Angel of Death, 1919 Lithograph on paper, 16 × 14 in. (40.6 × 35.6 cm) The Jewish Museum, New York. Gift of Leonard and Phyllis Greenberg, 1986-121l Exhibition Gallery 2: HURST GALLERY SECTION 2—THE VITEBSK PEOPLE’S ART SCHOOL—SECTION BEGINS IN HURST AND ENDS IN BLOOMBERG Text Panel illustration View of the People’s Art School Building in Vitebsk (former Vichniak mansion), 2017 Photograph by Igor Goussakov Marc Chagall (1887–1985) Self-Portrait, 1918 Gouache on paper, framed dimensions: 16 15/16 x 13 x 11/16 in.
Recommended publications
  • The Purge of Modern Trends
    PATRICIA RAILING The Purge of Modern Trends Patricia Railing has published widely on the Russian Avant-Garde. She is $IRECTOR OF !RTISTS s "OOKWORKS THAT PUBLISHES REPRINTS OF EARLY TH CENTURY artists’ books and writings, as well as studies on the Russian Avant-Garde. Her Alexandra Exter Paints appeared in October 2011 and her doctoral thesis, Kazimir Malevich – Suprematism as Pure Sensation (Université de Paris 1 – Sorbonne, Philosophy of Art) will soon appear under the title, Malevich Paints – The Seeing Eye. 7KDWWKHDUWVIURPSDLQWLQJWROLWHUDWXUHWRWKHDWUH ³RUJDQLVDWLRQV PLJKW FKDQJH WR EHLQJ DQ LQVWUXPHQW IRU WKH WR PXVLF VKRXOG EH FRQVLGHUHG VR SRZHUIXO WKDW PD[LPXPPRELOLVDWLRQRI6RYLHWZULWHUVDQGDUWLVWVIRUWKHWDVNV 34 WKH\ KDG WR EH VXEYHUWHG WR WKH DXWKRULW\ RI WKH 6WDOLQLVW RIVRFLDOLVWFRQVWUXFWLRQ´1 UHJLPHVD\VPRUHDERXWWKHHIIHFWVRIWKHDUWVRQWKHKXPDQ EHLQJWKDQZRXOGEHDGPLWWHGLQPRGHUQ:HVWHUQVRFLHWLHV 7KXVWKHDUWVFDPHXQGHUWKHIXOOFRQWURORIWKH6WDWHDQGLIQRW )RUWKHPDUWLVXVXVDOO\FRQVLGHUHGDOX[XU\DSOD\WKLQJDQ DFWXDOO\GHVWUR\HGZKLFKVRPHDUWZDVLWFRXOGDWOHDVWEHPDGH LQYHVWPHQWRUVLPSO\LUUHOHYDQW WRFRQIRUPRUWRGLVDSSHDU ,Q5XVVLDIURPWKHVDUWZDVYLWDOEHFDXVHLWVUROH :KDWHYHUFRXOGQRWEHFODVVL¿HGDV³SUROHWDULDW´DQGZKDWHYHU ZDVWRDQQRXQFHDQGFRQYLQFHWKHSRSXODUPDVVHVDERXWWKH FRXOG EH FODVVL¿HG DV ³ERXUJHRLV´ ZHUH XQGHU WKUHDW :KHWKHU QHZ SROLWLFDO UHJLPH7KH SHDVDQW DQG WKH SUROHWDULDW ZHUH )UHQFK,PSUHVVLRQLVP3RVW,PSUHVVLRQLVP)DXYLVPDQG&XELVPRU WREHSHUVXDVLYHO\SRUWUD\HGDQGWKXVDUWEHFDPHWKHWRRO 5XVVLDQ,PSUHVVLRQLVPWR6XSUHPDWLVPDQG&RQVWUXFWLYLVPDOOZHUH IRU SURSDJDQGD &RLQFLGHQWO\
    [Show full text]
  • Summer Catalogue 2018
    www.bookvica.com SUMMER CATALOGUE 2018 1 F O R E W O R D Dear friends and collegues, Bookvica team is excited to present to you the summer catalogue of 2018! The catalogue include some of our usual sections along with new experimental ones. Interesting that many books from our selection explore experiments in different fields like art and science themselves. For example our usual sections of art exhibition catalogues and science include such names as Goncharova and Mendeleev - both were great exepimenters. Theatre section keeps exploring experiments on and off stage of the 1920s under striking constrictivist wrappers. We continue to explore early Soviet period with an important section on art for the masses where we gathered editions which shed light on how Soviets used all available matters to create a new citizen on shatters of the past and how to make him a loyal tool of propaganda. Photography and art of that period is gathered in a separate section with such names like Zdanevich and Telingater among the artists. Books on architecture include Chernikhov fantasies, Stepanova’s design of metro book, study of Soviet workers’ clubs and the most spectacular item is account of the work made by architecture studios in early 1930s led by most famous Russian architects. Probably the jewel of our selection is a rare collection of sheet music from 1920s-30s or more precisely cover designs. We have been gathering them for a year and are happy to finally share our discoveries on this subject with you. Don’t miss too small but very interesting sections of Ukrainian books and items on Women.
    [Show full text]
  • Hardcorist Lectores
    S20 FRANKOWSKI+GARCIA FRANKOWSKI+GARCIA S20 MANIFESTO In a drive for human emancipation, the last hundred years witnessed the creation of various avant-garde schools, workshops, and laboratories that strived to blur the boundary between art, architecture and life. HARDCORIST Starting with the People’s Art School in Vitebsk in 1918, and followed by the Bauhaus (1919), Unovis (1919), Vhkutemas (1920), GINKhUK (1923) and Black Mountain College (1933), a century of turmoil paved the way to a series of transcendental institutions set to liberate architecture from the constraints of previous epochs. A hundred years after the foundation of Unovis, Bauhaus and Vhkutemas, ‘HARDCORIST LECTORES LECTORES AND THEIR WORLDMAKING LABORATORIES’ reconsiders the relationship between pure form, radical pedagogy, and the creation of spaces for the exploration and development of critical forms of architecture. HARDCORIST LECTORES AND THEIR WORLDMAKING AND THEIR WORLDMAKING LABORATORIES LABORATORIES’ explores the possibility of Universal Workshops and Architectures of Emancipation. If a theory is critical inasmuch as it seeks for forms of human emancipation, Nathalie FRANKOWSKI + Cruz GARCIA critical architecture employs its mediums, strat¬egies, methods, concepts, narratives, spaces and forms to lib¬erate WAI Architecture Think Tank humans from the pressing challenges of our times. In the midst of environmental decay to the point of no return, with the asphyxiating grip of neoliberal The only purpose of capitalism, and the crushing socio- economic effects of the Anthropocene, education is to make the gospel of the Cubo-Futurist Opera Victory Over the Sun seems not so new worlds collectively. distant after all. This requires the practice ‘HARDCORIST LECTORES of curiosity as a daily AND THEIR WORLDMAKING LABORATORIES’ reconsiders the habit and the exercise of relation¬ship between radical form and radical program, as buildings become dignified and purposeful inseparable from the activities, programs rebelliousness.
    [Show full text]
  • The Institute of Modern Russian Culture
    THE INSTITUTE OF MODERN RUSSIAN CULTURE AT BLUE LAGOON NEWSLETTER No. 58, August, 2009 IMRC, Mail Code 4353, USC, Los Angeles, Ca. 90089-4353, USA Tel.: (213) 740-2735 Fax: (213) 740-8550; E: [email protected] website: http://www.usc.edu./dept/LAS/IMRC STATUS This is the fifty-eighth biannual Newsletter of the IMRC and follows the last issue which appeared in February, 2009. The information presented here relates primarily to events connected with the IMRC during the spring and summer of 2009. For the benefit of new readers, data on the present structure of the IMRC are given on the last page of this issue. IMRC Newsletters for 1979-2007 are available electronically and can be requested via e-mail at [email protected]. A full run can be supplied on a CD disc (containing a searchable version in Microsoft Word) at a cost of $25.00, shipping included (add $5.00 if overseas airmail). An illustrated brochure describing the programs, collections, and functions of the IMRC is also available RUSSIA On Saturday, 25 July, 2009, at 11.00 a.m., the Dorogomilovo branch post-office in Moscow witnessed the following scene: A robust woman in her fifties wearing less than glamorous black pants and a nondescript blouse came up to the clerk and asked for some forms. Unsmilingly, the clerk, not of the first freshness, but dutiful, handed her the forms, whereupon, the woman in black pants yelled: “Why are you looking at me like that?” The clerk answered mechanically, “I wasn’t looking at you” “Yes you were”, was the retort, “and why are you grumbling like that at me?” “I’m not grumbling at you” “Yes, you are and you’re not doing your job”.
    [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]
  • Cultural Syllabus : Russian Avant-Garde and Radical Modernism : an Introductory Reader
    ———————————————————— Introduction ———————————————————— THE RUSSIAN AVANT-GARDE AND RADICAL MODERNISM An Introductory Reader Edited by Dennis G. IOFFE and Frederick H. WHITE Boston 2012 — 3 — ——————————— RUSSIAN SUPREMATISM AND CONSTRUCTIVISM ——————————— 1. Kazimir Malevich: His Creative Path1 Evgenii Kovtun (1928-1996) Translated from the Russian by John E. Bowlt Te renewal of art in France dating from the rise of Impressionism extended over several decades, while in Russia this process was consoli- dated within a span of just ten to ffteen years. Malevich’s artistic devel- opment displays the same concentrated process. From the very begin- ning, his art showed distinctive, personal traits: a striking transmission of primal energy, a striving towards a preordained goal, and a veritable obsession with the art of painting. Remembering his youth, Malevich wrote to one of his students: “I worked as a draftsman... as soon as I got of work, I would run to my paints and start on a study straightaway. You grab your stuf and rush of to sketch. Tis feeling for art can attain huge, unbelievable proportions. It can make a man explode.”2 Transrational Realism From the early 1910s onwards, Malevich’s work served as an “experimen- tal polygon” in which he tested and sharpened his new found mastery of the art of painting. His quest involved various trends in art, but although Malevich firted with Cubism and Futurism, his greatest achievements at this time were made in the cycle of paintings he called “Alogism” or “Transrational Realism.” Cow and Violin, Aviator, Englishman in Moscow, Portrait of Ivan Kliun—these works manifest a new method in the spatial organization of the painting, something unknown to the French Cub- ists.
    [Show full text]
  • 1 Chagall, Lissitzky, Malevich: the Russian Avant-Garde in Vitebsk
    1 Chagall, Lissitzky, Malevich: The Russian Avant-Garde in Vitebsk, 1918-1922 The Jewish Museum September 14, 2018-January 6, 2019 Wall Texts and Object Labels Chagall, Lissitzky, Malevich: The Russian Avant-Garde in Vitebsk, 1918–1922, is organized by the Centre Pompidou, Paris, in collaboration with the Jewish Museum, New York. Angela Lampe Curator of Modern Collections, Musée National d’Art Moderne Exhibition Curator Claudia J. Nahson Morris and Eva Feld Curator Supervising Curator for the Jewish Museum DONORS TO THE EXHIBITION The exhibition is supported through the Samuel Brandt Fund, the David Berg Foundation, the Robert Lehman Foundation, the Centennial Fund, and the Peter Jay Sharp Exhibition Fund. The publication is made possible, in part, by The Malevich Society. Nonflash, noncommercial photography for personal use is permitted in this exhibition except where the following symbol appears: #ChagallLissitzkyMalevich Exhibition design: Leslie Gill Architect Graphic design: Topos Graphics Lighting: Clint R. Coller Intern: Paulina Fedotova Research Assistant: Ori Hashmonay The companion volume to the exhibition is on sale in the Cooper Shop in the museum’s lobby. -- 2 Chagall, Lissitzky, Malevich: The Russian Avant-Garde in Vitebsk, 1918–1922 Introduction “I found myself in Vitebsk when the great celebrations of the October Revolution were over, but the city was still resplendent with Malevich’s designs—circles, squares, dots, and lines of different colors—and with Chagall’s flying people. I had the impression of being in an enchanted city, but in those days everything was wonderful, and everything was possible, and at that moment the people of Vitebsk had become Suprematists.” Sofia Dymshits-Tolstaia, 1921 This is the first major exhibition to explore a littleknown chapter in the history of the Russian avant-garde: Marc Chagall’s encounter with the leading figures of abstraction, El (Lazar) Lissitzky and Kazimir Malevich, at the time of the Russian Revolution.
    [Show full text]
  • Pamela Kachurin. Making Modernism Soviet: the Russian Avant-Garde in the Early Soviet Era, 1918-1928
    Book Reviews / Книжные рецензии 91 Pamela Kachurin. Making Modernism Soviet: The Russian Avant-Garde in the Early Soviet Era, 1918-1928. Evanston, IL: Northwestern Uni- versity Press, 2013. 170 pp. $45 (paper over board). ISBN-13: 978-0- 81012-928-3. In the opening paragraph of this slim, important book, Pamela Kachu- rin notes that “many members of Russia’s historic avant-garde . went to work for the Bolsheviks, finding gainful employment as museum direc- tors, art school teachers, and arts administrators.” (p. xvii) In focusing on this integral, yet neglected aspect of the Russian avant-garde’s post 1917 existence, Making Modernism Soviet seeks to reframe the longstanding debate regarding the nature of the relationship between the avant-garde and the nascent Soviet state. This debate, outlined in works such as The Total Art of Stalinism by Boris Groys and “The Politics of the Avant- Garde” by Paul Wood, has largely revolved around questions of agency: whether and to what degree the avant-garde, in its enthusiastic support for the Soviet project, was opportunistic, merely naïve, or indeed complicit in its own eventual destruction. As a substantial account of this relationship has the potential to profoundly disrupt and reshape our understanding, not only of Russian Modernism, but of twentieth-century avant-gardism it- self, it is understandable that this issue remains charged and contentious. Here is a fulcrum upon which rests not only current accounts of artists and individual works, but whole-cloth histories of the avant-garde, not least, as Kachurin notes, Peter Bürger’s influential and widely read Theo- ry of the Avant-Garde.1 Given this, it is pleasing to note that Making Modernism Soviet offers a thoroughly-researched, tightly-structured account of the tense, uncom- fortable entente between Modernist artists and the emerging administra- tive apparatuses of the Soviet state.
    [Show full text]
  • Kazimir Malevich, Unovis, and the Poetics of Materiality
    Chapter 5 Kazimir Malevich, Unovis, and the Poetics of Materiality Maria Kokkori, Alexander Bouras and Irina Karasik In 1921, Kazimir Malevich formulated a radically new understanding of ma- teriality and the nature of creativity. He stated, ‘The new war on materials has been declared. Materials will be defeated by the production processes, and in the course of this war they will be transformed’.1 From 1920 to 1922 at the Vitebsk People’s Art School (Vitebskoe narodnoe khudozhestvennoe uchilishche) and later at the State Institute for Artistic Culture in Petrograd (Gosudarstvennyi institut khudozhestvennoi kul’tury – Ginkhuk), Malevich and the Unovis group investigated art through laboratory research, focusing on the ‘science of painting’ [zhivopisnaia nauka], as Malevich described it, and examining the painterly processes involved in the ‘new systems of art’.2 Cen- tral to their explorations was the study of faktura, in both its material and immaterial aspects, fusing the two and thus challenging preconceptions about its meaning, practice, purpose, essence, and use.3 When Malevich set up Unovis (Utverditeli novogo iskusstva – Champions of the New Art) in early 1920 in Vitebsk, he deliberately set out to create a 1 Kazimir Malevich, ‘Unovis’, Iskusstvo, 1 (Vitebsk, 1921): 9-10. 2 K. Malevich, O novykh sistemakh v iskusstve. Statika i skorost’. Ustanovlenie A [On New Systems in Art. Stasis and Speed. Resolution A] (Vitebsk: Unovis, 1919); reprinted in Kazimir Malevich, Sobranie sochinenii v piati tomakh, ed. Aleksandra Shatskikh (Moscow: Gileia, 1995), I: 153-183; English translation in K. S. Malevich, Essays on Art 1915-1933, ed. Troels Andersen, trans. Xenia Glowacki-Prus and Arnold McMillin (Copenhagen: Borgens Forlag, 1968), 1: 83-119.
    [Show full text]
  • Download Catalog
    RUSSIAN BOOKS, POSTERS and Other Lot 256 Collectibles Mercer and Middlesex Auctions, Llc December 2, 2010 at 1:00 pm Cherrystone Auction Galleries 119 W. 57 Street, 3rd Floor New York, NY 10019 Lot 6 Pre-auction viewing at Cherrystone Auction Galleries November 30–December 1, 9 am–4 pm. Viewing on the day of the auction will be limited. Phone: +1.609.632.1692 Fax: +1.609.235.9667 [email protected] www.memiauctions.com Lot 197 ex-Lot 239 Lot 260 Terms and Conditions By bidding at our auction, whether in person, by phone, absentee bid, or exception: MMA will agree to a refund of the purchase price if within on the internet, you agree to be bound by the following terms and condi- twenty-eight (28) days of purchase, the purchaser obtains and sends to tions. As used in the following terms and conditions, MMA, We, and Us MMA a signed written letter from a mutually recognized expert stating refers to Mercer and Middlesex Auctions, LLC. unequivocally that the auctioned item is a forgery. 1. There is a 20% buyer’s premium added to the successful hammer price 9. A prospective buyer must complete and sign a registration form before of every lot, which the purchaser of the lot agrees to pay along with bidding. MMA reserves the right to require bank or other financial applicable taxes as part of the total purchase price. references for participation in the auction or bidding on a specific lot. MMA has the right at our complete discretion to refuse any individual 2.
    [Show full text]
  • Chagall, Lissitzky, Malevich: the Russian Avant-Garde in Vitebsk, 1918-1922 Opens at the Jewish Museum on September 14, 2018
    Chagall, Lissitzky, Malevich: The Russian Avant-Garde in Vitebsk, 1918-1922 Opens at the Jewish Museum on September 14, 2018 Exhibition Explores Extraordinary Years Following Russian October Revolution of 1917 When Vitebsk Became an Avant-Garde Art Incubator New York, NY, September 4, 2018 – The Jewish Museum will offer museum visitors a rare opportunity to explore a little-known chapter in the history of modernity and the Russian avant-garde. On view from September 14, 2018 through January 6, 2019, Chagall, Lissitzky, Malevich: The Russian Avant-Garde in Vitebsk, 1918-1922 will focus on the People’s Art School (1918-1922), founded by Marc Chagall in his native city of Vitebsk (in present day Belarus). The exhibition explores the extraordinary years following the Russian October Revolution of 1917, during which Vitebsk – a small city with a significant Jewish population – became an incubator of avant-garde art. Through nearly 160 works and documents loaned by museums in Vitebsk and Minsk and major American and European collections, the exhibition will present the artistic output of three iconic figures – Marc Chagall, El Lissitzky and Kazimir Malevich – as well as works by students and teachers of the Vitebsk school, such as Lazar Khidekel, Nikolai Suetin, Ilya Chashnik, David Yakerson, Vera Ermolaeva, and Yuri (Yehuda) Pen, among others. Chagall, Lissitzky, Malevich: The Russian Avant-Garde in Vitebsk, 1918-1922 is organized by the Centre Pompidou, Paris, in collaboration with the Jewish Museum, New York. The year 2018 marks the 100th anniversary of Chagall’s appointment as Commissar of Arts for the Vitebsk region, a position that enabled him to carry out his idea of creating a revolutionary art school in his city, open to everyone, free of charge, and with no age restrictions.
    [Show full text]
  • Suprematist Architecture: a Plane Drawing Architectural History Thesis on Suprematist Architecture by Kazimir Malevich
    Suprematist Architecture: a Plane Drawing Architectural History Thesis on Suprematist Architecture by Kazimir Malevich Delft University of Technology Fenna Regenboog April 2021 ABSTRACT The thesis examines the unbuilt Suprematist architecture through the architectural drawings made by Russian artist Kazimir Malevich (1878-1935) over the period 1923-24. By looking into the expression of non-objectivity in the built object, the study complements the current body of knowledge of Suprematism and architectural form development in the twentieth century. The research is constructed of a literature review and analysis of three architectural drawings by Malevich. Malevich envisioned an urban environment which form originates from Suprematist principles. Although the thesis has been able to establish the relation between Suprematism and the architectural form, there remains discussion to whether architectural principals or utopianism underlie the argument to why Suprematist architecture has not been constructed. Keywords, Kazimir Malevch, Suprematism, Architecture, Drawing, Non-Objectivity Delft University of Technology April 2021 AR2A011 Architectural History Thesis Dr. mr. E. Korthals Altes Fenna Regenboog Title page image, Kazimir Malevich in his Atelier, retrieved march 2021 from https://www.nrc.nl/ nieuws/2017/12/27/kosten-restauratie-eerst-betalen-dan-mogelijke-malevich-terug-a1586293 CONTENT CHAPTER 1 Introduction p7 CHAPTER 2 Suprematism and the Planar Painting p9 Suprematism p9 Malevich and Suprematist Painting p11 CHAPTER 3 Architectural Drawings of Kazimir Malevich p15 Suprematist Architecture p15 The Architectural Form p17 The Architectural Drawing p19 CHAPTER 4 Discussion and Conclusion p25 4 5 CHAPTER 1 Introduction In the early twentieth century, the form and tempo of the city started changing as result of rapid industrialization.
    [Show full text]