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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”. -
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. -
Hollis Frampton. Untitled [Frank Stella]. 1960
Hollis Frampton. Untitled [Frank Stella]. 1960. Research Library, The Getty Research Institute, Los Angeles, California (930100). Courtesy Barbara Rose. © Estate of Hollis Frampton. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/octo.2007.119.1.94 by guest on 30 September 2021 “Frank Stella is a Constructivist”* MARIA GOUGH No matter what we say, we are always talking about ourselves. —Carl Andre (2005) I begin with a photograph taken in 1960 by the photographer and soon-to- be filmmaker Hollis Frampton in the West Broadway studio of his friend Frank Stella.1 The painter’s upturned head rests against the window sill, almost decapi- tated. Defamiliarizing his physiognomy, the camera relocates his ears below his chin, trunking his neck with its foreshortening. Arrested, his eyes appear nervous, jumpy. On the sill sits a sculpture by Frampton and Stella’s mutual friend Carl Andre, Timber Spool Exercise (1959), a weathered stump of painted lumber, its midriff cut away on all four sides. This giant spool was one of dozens of such exer- cises that Andre produced in summer 1959 with the help of a radial-arm saw in his father’s toolshed in Quincy, Massachusetts, a few examples of which he brought back to New York. Propped atop it is a small mirror, angled to reflect the jog of Union Pacific (1960), a twelve-foot-long aluminum oil painting that leans against the opposite wall of the studio, its two lower corners and upper middle cut away, itself a mirror-image duplication of the square-format Kingsbury Run (1960) of the same series. -
Sculptor Nina Slobodinskaya (1898-1984)
1 de 2 SCULPTOR NINA SLOBODINSKAYA (1898-1984). LIFE AND SEARCH OF CREATIVE BOUNDARIES IN THE SOVIET EPOCH Anastasia GNEZDILOVA Dipòsit legal: Gi. 2081-2016 http://hdl.handle.net/10803/334701 http://creativecommons.org/licenses/by/4.0/deed.ca Aquesta obra està subjecta a una llicència Creative Commons Reconeixement Esta obra está bajo una licencia Creative Commons Reconocimiento This work is licensed under a Creative Commons Attribution licence TESI DOCTORAL Sculptor Nina Slobodinskaya (1898 -1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 TESI DOCTORAL Sculptor Nina Slobodinskaya (1898-1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 Programa de doctorat: Ciències humanes I de la cultura Dirigida per: Dra. Maria-Josep Balsach i Peig Memòria presentada per optar al títol de doctora per la Universitat de Girona 1 2 Acknowledgments First of all I would like to thank my scientific tutor Maria-Josep Balsach I Peig, who inspired and encouraged me to work on subject which truly interested me, but I did not dare considering to work on it, although it was most actual, despite all seeming difficulties. Her invaluable support and wise and unfailing guiadance throughthout all work periods were crucial as returned hope and belief in proper forces in moments of despair and finally to bring my study to a conclusion. My research would not be realized without constant sacrifices, enormous patience, encouragement and understanding, moral support, good advices, and faith in me of all my family: my husband Daniel, my parents Andrey and Tamara, my ount Liubov, my children Iaroslav and Maria, my parents-in-law Francesc and Maria –Antonia, and my sister-in-law Silvia. -
1 Spring 2012 Prof. Jochen Hellbeck [email protected] Van Dyck Hall 002F Office Hours: M 3:30-5:00 and by Appointment Hi
Spring 2012 Prof. Jochen Hellbeck [email protected] Van Dyck Hall 002F Office hours: M 3:30-5:00 and by appointment History 510:375 -- 20 th Century Russia (M/W 6:10-7:30 CA A4) The history of 20 th century Russia, as well as the world, was decisively shaped by the Revolution of 1917 and the Soviet experiment. For much of the century the Soviet Union represented the alternative to the West. When the Bolsheviks came to power in 1917 they were committed to remake the country and its people according to their socialist vision. This course explores the effects of the Soviet project—rapid modernization and ideological transformation—on a largely agrarian, “backward” society. We will consider the hopes and ideals generated by the search for a new and better world, and we will address the violence and devastation caused by the pursuit of utopian politics. Later parts of the course will trace the gradual erosion of Communist ideology in the wake of Stalin's death and follow the regime’s crisis until the spectacular breakup of the empire in 1991. Throughout the course, we will emphasize how the revolution was experienced by a range of people – Russians and non-Russians; men and women; artists and intellectuals, but also workers, soldiers, and peasants – and what it meant for them to live in the Soviet system in its different phases. To convey this perspective, the reading material includes a wide selection of personal accounts, fiction, artwork, films, which will be complemented by scholarly analyses. For a fuller statement of the learning goals pursued in this class, see More generally, see the History department statement on undergraduate learning goals: http://history.rutgers.edu/undergraduate/learning-goals The Communist age is now over. -
Shapiro Auctions
Shapiro Auctions RUSSIAN ART AUCTION INCLUDING POSTERS & BOOKS Tuesday - June 15, 2010 RUSSIAN ART AUCTION INCLUDING POSTERS & BOOKS 1: GUBAREV ET AL USD 800 - 1,200 GUBAREV, Petr Kirillovich et al. A collection of 66 lithographs of Russian military insignia and arms, from various works, ca. 1840-1860. Of varying sizes, the majority measuring 432 x 317mm (17 x 12 1/2 in.) 2: GUBAREV ET AL USD 1,000 - 1,500 GUBAREV, Petr Kirillovich et al. A collection of 116 lithographs of Russian military standards, banners, and flags from the 18th to the mid-19th centuries, from various works, ca. 1830-1840. Of varying sizes, the majority measuring 434 x 318mm (17 1/8 x 12 1/2 in.) 3: RUSSIAN CHROMOLITHOGRAPHS, C1870 USD 1,500 - 2,000 A collection of 39 color chromolithographs of Russian military uniforms predominantly of Infantry Divisions and related Artillery Brigades, ca. 1870. Of various sizes, the majority measuring 360 x 550mm (14 1/4 x 21 5/8 in.) 4: PIRATSKII, KONSTANTIN USD 3,500 - 4,500 PIRATSKII, Konstantin. A collection of 64 color chromolithographs by Lemercier after Piratskii from Rossiskie Voiska [The Russian Armies], ca. 1870. Overall: 471 x 340mm (18 1/2 x 13 3/8 in.) 5: GUBAREV ET AL USD 1,200 - 1,500 A collection of 30 lithographs of Russian military uniforms [23 in color], including illustrations by Peter Kirillovich Gubarev et al, ca. 1840-1850. Of varying sizes, the majority measuring 400 x 285mm (15 3/4 x 11 1/4 in.), 6: DURAND, ANDRE USD 2,500 - 3,000 DURAND, André. -
Russian Museums Visit More Than 80 Million Visitors, 1/3 of Who Are Visitors Under 18
Moscow 4 There are more than 3000 museums (and about 72 000 museum workers) in Russian Moscow region 92 Federation, not including school and company museums. Every year Russian museums visit more than 80 million visitors, 1/3 of who are visitors under 18 There are about 650 individual and institutional members in ICOM Russia. During two last St. Petersburg 117 years ICOM Russia membership was rapidly increasing more than 20% (or about 100 new members) a year Northwestern region 160 You will find the information aboutICOM Russia members in this book. All members (individual and institutional) are divided in two big groups – Museums which are institutional members of ICOM or are represented by individual members and Organizations. All the museums in this book are distributed by regional principle. Organizations are structured in profile groups Central region 192 Volga river region 224 Many thanks to all the museums who offered their help and assistance in the making of this collection South of Russia 258 Special thanks to Urals 270 Museum creation and consulting Culture heritage security in Russia with 3M(tm)Novec(tm)1230 Siberia and Far East 284 © ICOM Russia, 2012 Organizations 322 © K. Novokhatko, A. Gnedovsky, N. Kazantseva, O. Guzewska – compiling, translation, editing, 2012 [email protected] www.icom.org.ru © Leo Tolstoy museum-estate “Yasnaya Polyana”, design, 2012 Moscow MOSCOW A. N. SCRiAbiN MEMORiAl Capital of Russia. Major political, economic, cultural, scientific, religious, financial, educational, and transportation center of Russia and the continent MUSEUM Highlights: First reference to Moscow dates from 1147 when Moscow was already a pretty big town. -
The Soviet Critique of a Liberator's
THE SOVIET CRITIQUE OF A LIBERATOR’S ART AND A POET’S OUTCRY: ZINOVII TOLKACHEV, PAVEL ANTOKOL’SKII AND THE ANTI-COSMOPOLITAN PERSECUTIONS OF THE LATE STALINIST PERIOD by ERIC D. BENJAMINSON A THESIS Presented to the Department of History and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts March 2018 THESIS APPROVAL PAGE Student: Eric D. Benjaminson Title: The Soviet Critique of a Liberator’s Art and a Poet’s Outcry: Zinovii Tolkachev, Pavel Antokol’skii and the Anti-Cosmopolitan Persecutions of the Late Stalinist Period This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of History by: Julie Hessler Chairperson John McCole Member David Frank Member and Sara D. Hodges Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded: March 2018 ii © 2018 Eric D. Benjaminson iii THESIS ABSTRACT Eric D. Benjaminson Master of Arts Department of History March 2018 Title: The Soviet Critique of a Liberator’s Art and a Poet’s Outcry: Zinovii Tolkachev, Pavel Antokol’skii and the Anti-Cosmopolitan Persecutions of the Late Stalinist Period This thesis investigates Stalin’s post-WW2 anti-cosmopolitan campaign by comparing the lives of two Soviet-Jewish artists. Zinovii Tolkachev was a Ukrainian artist and Pavel Antokol’skii a Moscow poetry professor. Tolkachev drew both Jewish and Socialist themes, while Antokol’skii created no Jewish motifs until his son was killed in combat and he encountered Nazi concentration camps; Tolkachev was at the liberation of Majdanek and Auschwitz. -
War and Rape, Germany 1945
Lees-Knowles Lectures Cambridge 2002-3 Antony Beevor 2. War and Rape, Germany 1945 „Red Army soldiers don't believe in “individual liaisons” with German women‟, wrote the playwright Zakhar Agranenko in his diary when serving as an officer of marine infantry in East Prussia. „Nine, ten, twelve men at a time - they rape them on a collective basis‟. The Soviet armies advancing into East Prussia in January 1945, in huge, long columns were an extraordinary mixture of modern and mediaeval: tank troops in padded black helmets, Cossack cavalrymen on shaggy mounts with loot strapped to the saddle, Lend-Lease Studebakers and Dodges towing light field guns, and then a second echelon in horse- drawn carts. The variety of character among the soldiers was almost as great as their military equipment. There were freebooters who drank and raped quite shamelessly, and there were idealistic, austere Communists and members of the intelligentsia genuinely appalled by such behaviour. Beria and Stalin back in Moscow knew perfectly well what was going on from a number of detailed reports sent by generals commanding the NKVD rifle divisions in charge of rear area security. One stated that „many Germans declare that all German women in East Prussia who stayed behind were raped by Red Army soldiers‟. This opinion was presumably shared by the authorities, since if they had disagreed, they would have added the ritual formula: „This is a clear case of slander against the Red Army.‟ In fact numerous examples of gang rape were given in a number of other reports – „girls under eighteen and old women included‟. -
Museological Unconscious VICTOR TUPITSYN Introduction by Susan Buck-Morss and Victor Tupitsyn the Museological Unconscious
The Museological Unconscious VICTOR TUPITSYN introduction by Susan Buck-Morss and Victor Tupitsyn The Museological Unconscious VICTOR TUPITSYN The Museological Unconscious VICTOR TUPITSYN Communal (Post)Modernism in Russia THE MIT PRESS CAMBRIDGE, MASSACHUSETTS LONDON, ENGLAND © 2009 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please email special_sales@ mitpress.mit .edu or write to Special Sales Department, The MIT Press, 55 Hayward Street, Cambridge, MA 02142. This book was set in Sabon and Univers by Graphic Composition, Inc., Bogart, Georgia. Printed and bound in Spain. Library of Congress Cataloging-in-Publication Data Tupitsyn, Viktor, 1945– The museological unconscious : communal (post) modernism in Russia / Victor Tupitsyn. p. cm. Includes bibliographical references and index. ISBN 978-0-262-20173-5 (hard cover : alk. paper) 1. Avant-garde (Aesthetics)—Russia (Federation) 2. Dissident art—Russia (Federation) 3. Art and state— Russia (Federation) 4. Art, Russian—20th century. 5. Art, Russian—21st century. I. Title. N6988.5.A83T87 2009 709.47’09045—dc22 2008031026 10 9 8 7 6 5 4 3 2 1 To Margarita CONTENTS PREFACE ix 1 Civitas Solis: Ghetto as Paradise 13 INTRODUCTION 1 2 Communal (Post)Modernism: 33 SUSAN BUCK- MORSS A Short History IN CONVERSATION 3 Moscow Communal Conceptualism 101 WITH VICTOR TUPITSYN 4 Icons of Iconoclasm 123 5 The Sun without a Muzzle 145 6 If I Were a Woman 169 7 Pushmi- pullyu: 187 St. -
Free Art As the Basis of Life: Harmony and Dissonance (On Life, Death, Etc.) [Extracts], 1908
The works of genius and mediocrity—the latter are justified because they have historic interest. The painting of those who have long since decayed (who they were is forgotten, a riddle, a mystery)—how you upset the nineteenth century. Until the 1830s, the age of Catherine was enticing, alluring, and delightful: pre- cise and classical. Savage vulgarization. The horrors of the Wanderers—general deterio- ration—the vanishing aristocratic order—hooligans of the palette a la Ma- kovsky 1 and Aivazovsky,2 etc. Slow development, new ideals—passions and terrible mistakes! Sincejhg first exhibition of the World of Art, in 1899, there has beenja.. new era. Aitigtg lnoK ft? fresh wind.blows away Repin's chaffy spirit, the bast shoe of the Wanderers loses its apparent strength. But it's not Serov, not Levitan, not Vrubel's 3 vain attempts at genius, not the literary Diaghilevans, but the Blue Rose, those who have grouped around The Golden Flee ce and later the Russian imptv^jpnist^ niirhireH on Western mCSels, those who trembled at the sight of Gauguin, Van Gogh, Cezanne _ (the synthesis of French trends in painting)—these are the hopes for the rebirth of Russian painting. " ""— NIKOLAI KULBIN Free Art as the Basis of Life: Harmony and Dissonance (On Life, Death, etc.) [Extracts], 1908 Born St. Petersburg, 1868; died St. Petersburg, 1917. Professor at the St. Petersburg Military Academy and doctor to the General Staff; taught himself painting; IQO8: organized the Impressionist groupj lecturer and theoretician; 1909: group broke up, dissident members contributing to the founding of the Union of Youth, opened for- mally in February 1910; 1910 on: peripheral contact with the Union of Youth; close to the Burliuks, Vladimir Markov, Olga Rozanova; ca. -
Shapiro Auctions
Shapiro Auctions RUSSIAN + INTERNATIONAL ART & ANTIQUES Saturday - June 7, 2014 RUSSIAN + INTERNATIONAL ART & ANTIQUES 1: GUSTAV KLIMT (AUSTRIAN 1862-1918), Gustav Klimt. USD 3,000 - 5,000 GUSTAV KLIMT (AUSTRIAN 1862-1918), Gustav Klimt. Funfundzwanzig Handzeichnungen. [Gustav Klimt. Twenty-Five Hand Drawings]. 25 collotype plates, average size 510x330 mm; 20 1/8 x 13 inches, image, tipped to window mounts. Folio, plates and folded folio leaf containing title, plate list, and colophon laid into publisher's boards with cover title. Spine and flaps reinforced with linen. Printed by Max Jaffé. Number 275 of 500 copies. Vienna: Gilhofer & Ranschburg, (1919). Complete as published., 2: EGON SCHIELE (AUSTRIAN 1890-1918), Zeichnungen: Egon USD 7,000 - 9,000 EGON SCHIELE (AUSTRIAN 1890-1918), Zeichnungen: Egon Schiele. 12 Blatter in Originalgrosse. [Drawings: Egon Schiele. 12 Plates in Original Size] 12 Heliotype plates, of which 11 are original and 1 (plate VII) is a facsimile. Average size of plates: 475x310mm (18 3/4 x 12 1/4 in.). The title page HANDSIGNED, DATED AND NUMBERED BY EGON SCHIELE. Folio, introduction plate, and title page containting title, plate list, and colophone laid into publisher's boards with cover illustrated with Schiele's self-portrait . Printed by Max Jaffé. number 245 of 400 copies. Vienna: Buchhandlung Richard Lanyi, 1917. This very rare portfolio was printed in 1917 by Max Jaffe under Schiele's supervision, one year before Schiele's death in 1917. The printing plates and negatives were destroyed after printing to ensure that the printing would stay unique. The inside cover of the portfolio bears an ex-libris sticker from Helene Goldstern.