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Detki V Kletke: the Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry
Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Morse, Ainsley. 2016. Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493521 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 Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry A dissertation presented by Ainsley Elizabeth Morse to The Department of Slavic Languages and Literatures in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Slavic Languages and Literatures Harvard University Cambridge, Massachusetts April 2016 © 2016 – Ainsley Elizabeth Morse. All rights reserved. Dissertation Advisor: Professor Stephanie Sandler Ainsley Elizabeth Morse Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry Abstract Since its inception in 1918, Soviet children’s literature was acclaimed as innovative and exciting, often in contrast to other official Soviet literary production. Indeed, avant-garde artists worked in this genre for the entire Soviet period, although they had fallen out of official favor by the 1930s. This dissertation explores the relationship between the childlike aesthetic as expressed in Soviet children’s literature, the early Russian avant-garde and later post-war unofficial poetry. -
Nel Mondo Di Mark Kostabi
Nel mondo di Mark Kostabi di LUCIANO MARUCCI Recentemente a San Benedetto del Tronto si sono avuti due eventi culturali di rilievo: l’inaugurazione della terza scultura en plein air dell’artista siciliano Salvo (torinese di adozione) nella zona pedonale denominata “isola dell’arte” e l’apertura alla Palazzina Azzurra di una bella mostra (catalogo Skira), che resterà aperta fino al 15 settembre, di Mark Kostabi (anch’egli autore di una scultura), il quale, come da programma dell’Amministrazione comunale, quest’anno ha presentato la sua produzione pittorica per meglio essere conosciuto dal grosso pubblico che, tra l’altro, in due applauditi concerti all’aperto ha potuto apprezzare la sua verve di compositore musicale e di pianista. Nel mondo dell’arte Kostabi è un personaggio noto, soprattutto in America, Giappone e Italia, per la sua multiforme attività e per l’organizzazione di un moderno gruppo operativo per l’esecuzione e la promozione di manufatti artistici. Nella mostra sambenedettese ha proposto una serie di dipinti, quasi tutti insolitamente in bianco e nero, in segno di partecipazione ai drammi del mondo, un po’ come fece Picasso in “Guernica” il quale però lanciò la sua vibrante protesta contro la guerra di Spagna con linguaggio cubo-espressionista. Le opere, caratterizzate dalla presenza di angeli e di riferimenti musicali, mantengono la consueta carica ironica espressa da associazioni figurali spiazzanti alla Magritte, che vede protagonista un uomo-simbolo senza i lineamenti del volto. Ultimamente l’artista si è ispirato specialmente alla metafisica di Giorgio De Chirico, al novecentismo di Mario Sironi e all’iperrealismo dell’americano Hopper. -
Yekaterina Degot Terrorist Naturalism: Art in an Illegitimate Zone
Yekaterina Degot Terrorist Naturalism: Art in an Illegitimate Zone [4.104 words, 1995-1996] Russia Yekaterina Degot Terrorist Naturalism: Art in an Illegitimate Zone This text was archived at the Institute for Contemporary Art in Zagreb collection, as part of the Research project conceived in 1997 by a SCCAN – Soros Centers for Contemporary Art Network, funded by the Open Society Foundation, New York. The purpose of the project was to select, collect and disseminate texts on contemporary art practices in the Central and Eastern Europe and Central Asia, around Soros Centers for Contemporary Art, written in and about art of the 1990s. The coordination of the project was carried out by Janka Vukmir, SCCA – Zagreb, today the Institute for Contemporary Art, Zagreb. We did not intervene in any of texts more than just correcting obvious typos and spelling. On the occasion of collecting texts, we were given permission from all authors, to rightfully use them. If anyone now has different instructions, please, contact us at the [email protected]. All of the texts we have collected at the time have been later published on the website of the I_CAN, International Contemporary Art Network, the short-lived successor of the SCCAN. On the occasion of the exhibition 90s: Scars, revisiting the art practices and social and political context of the 1990s in the postcommunist countries, the Institute for Contemporary Art is now reoffering a collection of 89 texts and a comprehensive list of then proposed further readings, on the website of the Institute for Contemporary Art, www.institute.hr. The exhibition 90s: Scars is curated by Janka Vukmir and organized by the Institute for Contemporary Art and the MMSU – Museum of Modern and Contemporary Art in Rijeka, on the occasion of the European Cultural Capital Rijeka 2020. -
Transition in Post-Soviet Art
Transition in Post-Soviet Art: “Collective Actions” Before and After 1989 by Octavian Eșanu Department of Art, Art History & Visual Studies Duke University Date:_______________________ Approved: ___________________________ Kristine Stiles, Supervisor ___________________________ Fredric Jameson ___________________________ Patricia Leighten ___________________________ Pamela Kachurin ___________________________ Valerie Hillings Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History & Visual Studies in the Graduate School of Duke University 2009 ABSTRACT Transition in Post-Soviet Art: “Collective Actions” Before and After 1989 by Octavian Eșanu Department of Art, Art History & Visual Studies Duke University Date:_______________________ Approved: ___________________________ Kristine Stiles, Supervisor ___________________________ Fredric Jameson ___________________________ Patricia Leighten ___________________________ Pamela Kachurin ___________________________ Valerie Hillings An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Philosophy in the Department of Art, Art History & Visual Studies in the Graduate School of Duke University 2009 Copyright by Octavian Eșanu 2009 ABSTRACT For more than three decades the Moscow-based conceptual artist group “Collective Actions” has been organizing actions. Each action, typically taking place at the outskirts of Moscow, is regarded as a trigger for a series of intellectual -
1 Life Between Two Panels Soviet Nonconformism in the Cold War Era
Life Between Two Panels Soviet Nonconformism in the Cold War Era DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Clinton J. Buhler, M.A. Graduate Program in History of Art * * * * * The Ohio State University 2013 Dissertation Committee: Dr. Myroslava M. Mudrak, Advisor Dr. Kris Paulsen Dr. Jessie Labov Dr. Aron Vinegar 1 Copyright by Clinton J. Buhler 2013 2 Abstract Beneath the façade of total conformity in the Soviet Union, a dynamic underground community of artists and intellectuals worked in forced isolation. Rejecting the mandates of state-sanctioned Socialist Realist art, these dissident artists pursued diverse creative directions in their private practice. When they attempted to display their work publicly in 1974, the carefully crafted façade of Soviet society cracked, and the West became aware of a politically subversive undercurrent in Soviet cultural life. Responding to the international condemnation of the censorship, Soviet officials allowed and encouraged the emigration of the nonconformist artists to the West. This dissertation analyzes the foundation and growth of the nonconformist artistic movement in the Soviet Union, focusing on a key group of artists who reached artistic maturity in the Brezhnev era and began forging connections in the West. The first two chapters of the dissertation center on works that were, by and large, produced before emigration to the West. In particular, I explore the growing awareness of artists like Oleg Vassiliev of their native artistic heritage, especially the work of Russian avant-garde artists like Kazimir Malevich. I look at how Vassiliev, in a search for an alternative form of expression to the mandated form of art, took up the legacy of nineteenth-century Realism, avant-garde abstraction, and Socialist Realism. -
Lola Kantor-Kazovsky from Leviathan to Levitan: Michail
FROM LEVIATHAN TO LEVITAN: MICHAIL GROBMAN WITHIN THE CONTEXT OF RUSSIAN CONCEPTUALISM'S METAMORPHOSES LOLA KANTOR-KAZOVSKY The usual character of canvases and gouaches painted by Michail Grobman in the recent period has a face with a protruding nose, a protuberant, emphatically "contemplative" forehead, and a mouth slightly open as in surprise. The artist defines this character as a nitwit" - whose statements, such as "Let the flower be!", or "Don't kill cats!", appear on the paintings. He says many other things too, things which, in fact, are not at all foolish. It is just that his speech habits are those of a simpleton, who is unaware of proper ways to express his ideas, nor is he able to select the appropriate objects of speech and modes of expression. One must admit, however, that the entirely correct mode is not known to anybody, and hence any human speech is, to a certain extent, a nitwit speech. In fact, this character who by definition can be considered an "everyman", or the author's alter ego, has also written Grobman's verses. These tell us about life in the Promised Land, about war, love, poetry, and death. This character shares his sensations with us candidly: "I know this harmful sign,/The pain under the shoulde rblade/ When you cannot move your arm/ And it is difficult to breathe/ And you start thinking/ Of the transient nature of human beings/ And all your optimistic ideas/ Sink into a terrible abyss/ And all your gains/ Become totally worthless,/ And man, the King of Nature,/ Loses all his possessions." These feelings are sincere and genuine. -
Cosmos in the Twentieth Century Russian Art
COSMOS IN THE TWENTIETH CENTURY RUSSIAN ART (by Bella Kesoyan, 2018) Abstract The research explores the changing idea of ‘cosmos’ in the Russian art of the twentieth century. The key word here is change. The aim of the essay is to build a timeline and explain the shift in the understanding of cosmos and its representation in visual art. There are three components to the analysis. The first factor is technological progress. As the idea of space travel transformed from being a mere fantasy to reality and eventually a fact of life, its representation in art became less abstract. The second factor is political climate. As the scope of the essay covers the period of the existence of Soviet Union, the question of how the developments in the people’s expectations of the regime also influenced the perceptions of the cosmos and space travel is crucial. Last, Russian Cosmism, a philosophical movement, played a major part in providing the inspiration for artists in the beginning of the century. Although it virtually disappeared by the time of ‘the thaw’, the movement was revived in the last decades of the twentieth century. Introduction The twentieth century was arguably the most turbulent period in the Russian history. In a span of hundred years, Russia officially changed five different names and underwent tectonic transformations from the Russian Empire to the Soviet Union in the years following the October Revolution of 1917, and subsequently to the Russian Federation in 1991.1 Despite the political and social turbulence, Russia contributed a number of technological innovations to the world during that period, most notably in the field of space exploration. -
Alex-Anikina-Cosmic-Shift-Russian-Contemporary-Art-Writing.Pdf
Cosmic Shift Cosmic Shift Russian Contemporary Art Writing Contents Foreword – Bart De Baere ix Acknowledgments – Elena Zaytseva and Alex Anikina xv Introduction – Elena Zaytseva 1 Part One Past futures 1 Keti Chukhrov 25 The nomadic theater of the communist 2 Ilya and Emilia Kabakov 33 The center of cosmic energy 3 Boris Groys 53 The truth of art 4 Andrey Monastyrsky 69 VDNKh, the capital of the world 5 Anton Vidokle 91 The Communist Revolution was caused by the Sun Part Two Inherited aesthetics 6 Joseph Backstein 111 History of angels 7 Dmitry Gutov and Anatoly Osmolovsky 127 Concerning abstractionism 8 Olga Chernysheva 157 Screens 9 Dmitry Prigov 171 Two manifestos 10 Maria Chehonadskih 191 The form of art as mediation 11 Artemy Magun 209 Soviet communism and the paradox of alienation 12 Alexander Brener 231 The Russian avant-garde as an uncontrollable beast Part Three From the archive 13 Vadim Zakharov 247 Author, cosmos, archive 14 Bogdan Mamonov 259 A binary system 15 Maria Kapajeva 267 You can call him another man 16 Andrey Kuzkin 283 Running to the nest 17 Masha Sumnina 301 Brink, kerbside, fence, margin Part Four Russia, today 18 Ilya Budraitskis 313 A heritage without an heir 19 Dmitry Venkov 333 Krisis 20 Gleb Napreenko 341 Questions without answers, answers without questions 21 Gluklya (Natalia Pershina-Yakimanskaya) 353 The Utopian Union of the Unemployed 22 Dmitry Vilensky 371 Chto Delat? and method 23 Yevgeny Granilshchikov 383 Weakness Part Five Future futures 24 Oxana Timofeeva 399 Ultra black 25 Arseny Zhilyaev 413 Demand full automation of contemporary art 26 Alex Anikina 433 The Antichthon 27 Ivan Novikov 461 I want to be afraid of the forest 28 Pavel Pepperstein 467 The skyscraper-cleaner pine marten About the contributors 489 Text credits 500 Image credits 503 Index 506 Foreword A REPORT FROM THE CENTER OF THE WORLD Strangely enough, the center of the world is out of view at this moment. -
Mark Kostabi
MARK KOSTABI Via Fiume, 106 74121 - TARANTO +39 393.9430432 Pino www.farinartgroup.it [email protected] Farina Art Group srls farina_artgroup Mark Kostabi nasce a Los Angeles, in California, da una famiglia di immigrati estoni e cresce nella località di Whittier. Dopo aver studiato disegno e pittura, alla California State University , Fullerton, nel 1982 si trasferisce a New York e dopo soli due anni diventa un’importante figura di riferimento all’interno del movimento artistico dell’East Village. Nel 1988 fonda a New York il “Kostabi World”, dove produce circa 1000 quadri all’anno. Nei suoi dipinti sono presenti delle vere e proprie costanti come “NONOSTANTE LA TEMPESTA” la raffigurazione di soggetti senza volto che richiamano le figure 100X60 CM dei manichini di De Chirico. Ha disegnato orologi Swatch, tazze per caffe’ espresso, accessori per il computer, la maglia rosa del Giro d’Italia e la copertina del disco “Use Your Illusion” dei Guns N’Roses. Ha collaborato con diversi artisti: Enzo Cucchi, Arman, Howard Finster (nel 1992), Tadanori Yokoo (nel 1993) ed Enrico Baj (nel 1992). Ha concesso interviste: alla CNN e al canale MTV oltre che a numerose riviste e settimanali, quali New York Times, People, Vogue, Playboy, Forbes, New York Magazine, Domus AD, Artforum, Art in America, Artnews, Arts, Flash Art, Tema Celeste, Arte Mondadori, Arteln e Juliet Art Magazine. Mostre retrospettive sui dipinti di Kostabi sono state conservate al Mitsukoshi Museum di Tokyo (1992) e al Museo d’Arte dell’Estonia a Tallinn (1998). Vittorio Sgarbi ha curato una vasta mostra di 150 dipinti, al Chiostro del Bramante di Roma nel 2006. -
Visual Art Exhibitions and State Identity in the Late Cold War
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…………………………………… -
Terror and Transcendence in the Void: Viktor Pelevin's Philosophy Of
Terror and Transcendence in the Void: Viktor Pelevin’s Philosophy of Emptiness By © 2017 Rebecca Stakun M.A., University of Kansas, 2011 B.A., George Washington University, 2006 Submitted to the graduate degree program in Slavic Languages and Literatures and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chair: Vitaly Chernetsky ________________________________ Co-Chair: Maria Carlson ________________________________ Marc Greenberg ________________________________ Ani Kokobobo ________________________________ Bruce Hayes Date Defended: 4 August 2017 The Dissertation Committee for Rebecca Stakun certifies that this is the approved version of the following dissertation: Terror and Transcendence in the Void: Viktor Pelevin’s Philosophy of Emptiness ________________________________ Chair: Vitaly Chernetsky Date Accepted: 4 August 2017 ii Abstract This dissertation explores the Russian experience of the “void” left in the wake of the collapse of the Soviet Union as it is reflected in Viktor Pelevin’s Chapaev and Pustota (1996), Generation “P” (1999), The Sacred Book of the Werewolf (2004), and Empire “V” (2006). If, as postmodernist theory suggests, there can be no overarching cultural (or other) narratives, then in the aftermath of the Soviet Union’s collapse post-Soviet Russia found itself in a void, with no old, established national narrative and no new “Russian idea” to shape future identity. At the very moment when post-Soviet -
RAF-Catalogue-History.Pdf
HISTORY Byzantine Art The Hermitage Collections By Frederick Cloth, Yale University ncreased interest in Byzantine art amongst овышенный интерес к византийскому Russian scholars and collectors in the 19th искусству среди русских ученых and early 20th centuries led to the formation и коллекционеров в 19 и 20 веках I of some superb private collections. П привел к образованию нескольких великолепных частных коллекций, крупнейшая The greatest of these are now concentrated in the из которых в настоящий момент размещена в Hermitage, with items from the 4th century; a small Эрмитаже. В коллекции имеются экспонаты, group of early Byzantine sculptures and sculptural датированные периодом с 4 по 5 века, небольшая fragments of the 4th to 5th centuries - and items right группа ранних византийских скульптур и up to the 15th century and the post-Byzantine era скульптурных предметов с 4 - 5 века и вплоть до (16th to 19th centuries). 15 века и поствизантийской эры (16-19 века). The icons of the Khanenko Museum in Kiev may Иконы из музея Ханенко в Киеве могли входить have been among the very first owned by St. в число самых первых икон, принадлежащих Catherine’s Monastery in Sinai, Egypt. They were монастырю Святой Екатерины, Синай, Египет. part of an imperial treasure lavished by the Emperor Они составляли часть императорских сокровищ, Justinian when he established the monastery in растраченных императором Юстинианом, когда memory of his wife, sometime between her death он основал монастырь в память своей жены на in 548 AD and his own in 565 AD, on the site of месте уже многовековой церкви в интервале an already ancient church.