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Post-Perestroika Warrior – Geoff Rey Cox Withdraws
MOSCOW SEPTEMBER 2009 www.passportmagazine.ru The State of Russian TV Professor William Brumfi eld Zamoskvorechye Post-Perestroika Warrior – Geoff rey Cox Withdraws Contents 4 What’s On in September 6 September Holidays 7 Previews 12 Art History 12 Yevgeny Oks 14 Culture Russian Hospitality Children’s TV The Present State of Russian TV 20 History Remembering the Holocaust 20 24 Travel Art Courses in Edinburgh 26 Viewpoint Anth Ginn in Russia 28 Restaurant Review Barashka Friends Forever 28 32 Wine Tasting Crisis Wine Buying 34 Interview Professor William Craft Brumfield – Architectural Historian Extraordinaire 36 Book review History of Russian Architecture, Professor W. Brumfield 34 37 Out&About Expat Football League Summer Tournament 38 Real Estate Zamoskvorechye 42 Columns Alexander Ziminsky, Penny Lane Realty: To Buy or Not To Buy Sherman Pereira, Crown Relocations: 38 Transporting Fine Art 44 Community Football: The Moscow Bhoys 46 Last Word Geoffrey Cox OBE 48 Viewpoint Michael Romanov 44 September 2009 3 Letter from the Publisher Soviet Jews are arguably one of the longest suffering races of modern history. We all know that Jews were repressed by the Soviets, however it is a little known fact that the Nazis efficiently and ruthlessly eliminated a large number of Jews from Soviet territory they occupied. Phil Baillie investigates. Geoffrey Cox OBE is somebody who many of us know. He is returning to England, al- though he will be visiting from time to time on business. His departure marks something of an end of an era of expat life here in Russia, as the original post-perestroika settlers gradually move on. -
Ukrainian Modernism, 1900–1930: a Reappraisal
H-Ukraine Ukrainian Modernism, 1900–1930: A Reappraisal Discussion published by Kristina Conroy on Friday, October 16, 2020 Seminar in Ukrainian Studies | Book Talk | Ukrainian Research Institute, Harvard University Wednesday, November 18, 2020, 12:00pm to 1:30pm Live on YouTube: https://youtu.be/oJ4vm5Jhgxo Panelists: George G. Grabowicz, Myroslava M. Mudrak, and Vita Susak; introduced by Michael S. Flier and moderated by Halyna Hryn View on HURI website A l o o k a t t h e d e v e l o p i n g f i e ld of Ukrainian modernism in the aftermath of a series of publications and conferences beginning in the late 1980s, revisited by the Harvard Ukrainian Research Institute's conference in 2007, and examined anew in the most recent issue of Harvard Ukrainian Studies (Vol. 36, No. 3-4, 2019). Special emphasis is placed on the cultural breakthrough and new avenues of research arising from the conference, including modernism's interface with socialist realism, the interplay of visual art and poetry, the Hylean futurism of David Burliuk, and the artistic legacy of Alexander Archipenko. Citation: Kristina Conroy. Ukrainian Modernism, 1900–1930: A Reappraisal. H-Ukraine. 10-16-2020. https://networks.h-net.org/node/4555727/discussions/6589286/ukrainian-modernism-1900%E2%80%931930-reappraisal Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 1 H-Ukraine Participants George G. Grabowicz, Dmytro Čyževskyj Professor of Ukrainian Literature at Harvard University; founder and editor in chief of the Kyiv-based journal and publishing house Krytyka Grabowicz is the author of several monographs on the works of Taras Shevchenko, most recently Shevchenkovi “Haidamaky” (2013), and collections of articles on the history of Ukrainian literature. -
Execution Version CREDIT AGREEMENT Among SOUTHERN
Execution Version CREDIT AGREEMENT Among SOUTHERN CALIFORNIA EDISON COMPANY The Several Lenders from Time to Time Parties Hereto JPMORGAN CHASE BANK, N.A., as Administrative Agent UNION BANK, N.A., WELLS FARGO BANK, N.A., BARCLAYS BANK PLC, CITIBANK, N.A. and THE ROYAL BANK OF SCOTLAND PLC, as Co-Syndication Agents BANK OF CHINA, LOS ANGELES BRANCH, THE BANK OF NEW YORK MELLON, BNP PARIBAS, MORGAN STANLEY SENIOR FUNDING, INC., ROYAL BANK OF CANADA, SUNTRUST BANK, UBS LOAN FINANCE LLC and U.S. BANK, NATIONAL ASSOCIATION, as Documentation Agents Dated as of May 18, 2012 J.P. MORGAN SECURITIES LLC, UNION BANK, N.A., WELLS FARGO SECURITIES LLC, BARCLAYS BANK PLC, CITIGROUP GLOBAL MARKETS INC. and RBS SECURITIES INC., as Joint Lead Arrangers and Joint Bookrunners Table of Contents Page SECTION 1. DEFINITIONS 5 1.1. Defined Terms 5 1.2. Other Definitional Provisions 18 SECTION 2. AMOUNT AND TERMS OF THE CREDIT FACILITY 18 2.1. The Commitments; Increase in Total Commitments 18 2.2. Procedure for Borrowing 20 2.3. Fees 21 2.4. Repayment of Loans and Swingline Loans; Evidence of Debt. 21 2.5. Prepayments and Termination or Reduction of Commitments 22 2.6. Conversion and Continuation Options 23 2.7. Minimum Amounts and Maximum Number of Tranches 23 2.8. Interest Rates and Payment Dates 24 2.9. Computation of Interest and Fees 24 2.10. Inability to Determine Interest Rate 24 2.11. Pro Rata Treatment and Payments 25 2.12. Illegality 26 2.13. Additional Costs 26 2.14. Taxes 28 2.15. -
Toje ®Ufe^Cljronttle Volume 56, Number 6 Duke University, Durham, N
Q%t tKotecr of Camptut. ffifjousftt ant) 9ttfoa TOje ®ufe^Cljronttle Volume 56, Number 6 Duke University, Durham, N. C. Wednesday, September 28, I960 7th Straight Semester AEPhi's Win Cup Music of Miller, Les Brown For High Average To Highlight Shoe V Slipper By E1LAH SHEARER Chronicle News Editor Alpha Epsilon Phi, with a scholastic average of 3.0; retains Dances Scheduled possession of the Panhellenic scholarship cup for the seventh consecutive semester. For October 27, 22 Announcements of sorority awards were made by Lois Schwartz, chairman of the scholarship awards committee of Pan- By MILES GULLINGSRUD Hel, in honors assembly Monday night in the Woman's College Chronicle News Editor Auditorium. Les Brown and his "Band At the end of the spring semester, the average of each sorority was higher than its average the preceding semester. of Renown" and Ray Mc- ; * Phi Mu rose from fifth place Kinley's "Glenn Miller Or to take the second position, chestra" will provide the 'Freshmen Tickets pha Delta Pi placed third, jump dance music for Shoe 'n' ing from sixth place last se Slipper week end, October 21 mester. and 22, president Laird Blue To Cost One Dollar Alpha Phi, moving from elev announced Monday. enth place to seventh position, Tickets for the October 7 ap The Les Brown band, featured pearance of the Four Freshmen received the "most improve ment" award. on NBC-TV's "Steve Allen will go on sale Monday for $1, Show," will play for the infor according to Randy Carpenter, Alpha Epsilon Phi, Alpha Del mal dance in the Indoor Stadium chairman of the Student Union ta Pi, Kappa Delta, Kappa Kap Friday night of the annual fall major attractions committee. -
Nicolai Fechin [1881–1955] This Russian-American Painter Brought His Intensely Creative Spirit and Genius for Portraiture to the American West
WESTERN VISTA PERSPECTIVE: NICOLAI FECHIN [1881–1955] This Russian-American painter brought his intensely creative spirit and genius for portraiture to the American West WRITTEN BY Gussie Fauntleroy In 1895 in the Russian town of Kazan, a trading port and cultural crossroads on the wide Volga River, 13-year-old Nicolai Ivanovich Fechin stood at a crossroads in life. His father was a masterful artisan skilled in woodworking, archi- tecture, painting, gilding and cabinetry, but less adept at business, and the family had to give up their home. Nicolai’s brother and mother were mov- ing to another town to live with the boys’ grandmother, while their father would travel from village to village as an itinerant craftsman. Young Nicolai could have gone with either parent. Instead, he chose a third, and fortuitous, path. That same year, a graduate Self Portrait of the Imperial Academy of Arts in Saint Petersburg had opened a branch school in Oil on Canvas | 10.5 x 9.5 inches Kazan. It offered painting, sculpture, architecture and general education instruction Private collection to youth from families of all means, not only the wealthy. Nicolai, having spent his boyhood happily engaged in drawing and woodcarving in his father’s workshop, decided to stay in Kazan and attend the school. His father proudly approved. With a classmate, the boy moved into a disused house and subsisted on little more than bread, honey and tea while he attended the six-year school. “It was kind of a miraculous piece of providence. Without that school, Fechin would have needed either a patron or money to hire a master to teach him art, which of course his family didn’t have,” says Susan Fisher, director of the Taos Art rtMusuem Museum in New Mexico, which holds a collection of Fechin paintings, most on A aos long-term loan from private collections. -
NY ACKER Awards Is Taken from an Archaic Dutch Word Meaning a Noticeable Movement in a Stream
1 THE NYC ACKER AWARDS CREATOR & PRODUCER CLAYTON PATTERSON This is our 6th successful year of the ACKER Awards. The meaning of ACKER in the NY ACKER Awards is taken from an archaic Dutch word meaning a noticeable movement in a stream. The stream is the mainstream and the noticeable movement is the avant grade. By documenting my community, on an almost daily base, I have come to understand that gentrification is much more than the changing face of real estate and forced population migrations. The influence of gen- trification can be seen in where we live and work, how we shop, bank, communicate, travel, law enforcement, doctor visits, etc. We will look back and realize that the impact of gentrification on our society is as powerful a force as the industrial revolution was. I witness the demise and obliteration of just about all of the recogniz- able parts of my community, including so much of our history. I be- lieve if we do not save our own history, then who will. The NY ACKERS are one part of a much larger vision and ambition. A vision and ambition that is not about me but it is about community. Our community. Our history. The history of the Individuals, the Outsid- ers, the Outlaws, the Misfits, the Radicals, the Visionaries, the Dream- ers, the contributors, those who provided spaces and venues which allowed creativity to flourish, wrote about, talked about, inspired, mentored the creative spirit, and those who gave much, but have not been, for whatever reason, recognized by the mainstream. -
The "Contemporary Art" Exhibition (St. Petersburg, 1903): Four Reviews1
Experiment/3KcnepMMeHT, 7 (2001), 265~73. THE "CONTEMPORARY ART" EXHIBITION (ST. PETERSBURG, 1903): FOUR REVIEWS1 "Contemporary Art''2 In St. Petersburg, on Bolshaia Morskaia, in fact right across from the Society for the Encouragement of the Arts, an interesting art enterprise has been organ ized w1der the title "Contemporary Art". A small group of artists - Alexandre Benois, Igor Grabar, Lev Bakst, Aleksandr Golovin, Konstantin Korovin, Evge nii Lanceray, Vladimir von Mekk, Konstantin Somov, and Prince Sergei Shcher~ batov, witil tile assistance of engineer S. F. Sovin -have set themselves the task of expanding the sphere of so-called applied art in Russia and of raising the level of our art industry. In its aspiration to bring art closer to life, this group, made up primarily of young artists, has decided not to limit itself to working without any clear system, but to pool its resources with tl10se of otl1er artists working in the field of applied art. "Contemporary Art" constitutes a center where every artist who has sometiling of his own to say and the desire to say it, can work in this arena witil complete independence and freedom. The principle goal of applied art is to develop tile artistic taste of society us ing objects of domestic use, and "Contemporary Art" is pursuing this goal on a v~ry large scale. Not confining itself to tile production of various artistic func tional objects, it has gone furtiler and begw1 with tl1eir actual nsage - ·mth rooms that are lived in. TI1e entire space of "Contemporary Art" comprises a se ries of rooms, each of which is entirely decorated and f.mushed by a single artist. -
Durlacher Bros. Records, 1919-1973
http://oac.cdlib.org/findaid/ark:/13030/tf067n977n No online items Finding aid for the Durlacher Bros. records, 1919-1973 Finding aid prepared by Lori Saavedra and Jocelyn Gibbs. Finding aid for the Durlacher 950003 1 Bros. records, 1919-1973 Descriptive Summary Title: Durlacher Bros. records Date (inclusive): 1919-1973 Number: 950003 Creator/Collector: Durlacher Bros. Physical Description: 16.0 linear feet(42 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: Records of the Durlacher Brothers, prominent art dealers in London and New York during the 19th and 20th centuries. The records comprise administrative and financial records, correspondence, and photographs from the New York City branch, ca. 1920s-1960s, the years during which R. Kirk Askew managed, and then owned the firm. 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 English Biographical/Historical Note Henry Durlacher founded the Durlacher Brothers firm of art dealers in London in 1843, and was later joined by his brother George. The firm dealt principally with porcelain and majolica, eventually adding furniture, tapestries, decorative objects, and paintings to their stock. The brothers Durlacher built a clientele that included such significant collectors as Sir Richard Wallace and J. Pierpont Morgan. R. Kirk Askew joined the firm in the 1920s to manage the newly established New York City branch, which quickly became the more influential of the two branches. George Durlacher, the oldest surviving partner of the originally constituted firm, retired in 1938. -
Allen C. Tanner (1898-1987) MC 2013.3
Archives and Special Collections Dickinson College Carlisle, PA COLLECTION REGISTER Name: Allen C. Tanner (1898-1987) MC 2013.3 Material: Papers (1890-1986) Volume: 3.0 linear feet (Document Boxes 1-6, 19 Oversized Folders, 134 Photograph Folders, 10 Books) Donation: Gift of Liz Hamill Howard (Class of 1982), 2009 Usage: These materials have been donated without restrictions on usage. BIOGRAPHICAL NOTE Allen C. Tanner was born on September 29, 1898 to Allen Caldwell Tanner and Mabel Waters Pace Tanner of Mount Vernon, Illinois. He came from a musically talented family, including siblings Florence, Wynona, Allene, and Earl. At the age of eight, he began training in music with an aunt who played the piano and with his cousin Mabel Pavey, who was also a skilled musician. Tanner showed promise as a pianist at an early age, and at fifteen he went to Chicago to further his musical education. He was awarded a scholarship to study with Victor Heinze and soon began performing publicly. Margaret Anderson, founder of the Little Review, heard Tanner perform in Chicago and became an admirer of his music and also a friend. Tanner then moved to New York City, where he accompanied vocalists such as Marguerite Namara and was invited to play with Ruano Bogislav (Mrs. Riccardo Martin), Frances Alda, Marguerite D’Alvarez, and Georgette Leblanc. He also performed in musical salons and came into contact with many musical greats of the era, including Myra Hess, Arthur Rubinstein, Paul Kochanski, and Karol Szymanowski. In the early 1920s, he spent a summer in Bernardsville, NJ where he shared a house with Margaret Anderson, Georgette Leblanc, and George Antheil. -
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. -
Going Everywhere and Nowhere from Moscow to the Urals – How Curatorial Delusions of Global Grandeur Betray Russian Art
GOING EVERYWHERE AND NOWHERE FROM MOSCOW TO THE URALS – HOW CURATORIAL DELUSIONS OF GLOBAL GRANDEUR BETRAY RUSSIAN ART BY SIMON HEWITT I : A MOSCOW MIRED IN MEMORIES A BANNER was dangling from the giant triumphal portico of VDNKh, beneath the two collective farmworkers brandishing their bale of straw. It advertised the 6th Moscow Biennale – the number 6 allotted spiralling arms to resemble a Catherine Wheel. But the banner was challenged by a bigger hoarding wheeled on to the piazza below, blowing the trumpet of a separate festival called Circle of Light . The Biennale’s main show was taking place just behind Lenin in VDNKh’s Central Pavilion (also known as Pavilion N°1), erected in 1954 and topped by a 350-foot spire modelled on the St Petersburg Admiralty. The Biennale was meant to open at noon. I tried to find the entrance but couldn’t. There were no signs. No information about where and when the Biennale could be visited. Yuri Albert’s immortal line breezed through my mind: The Biennale cannot and will not take place . The 6 th Moscow Biennale had been having well-publicized financial problems. Was it so bankrupt that it had ceased to exist, morphing instead into a Conceptualist joke? VDNKh, six miles north of Red Square, was the sixth venue for the Moscow Biennale’s main exhibition. It had previously been held in the former Lenin Museum near Red Square; the under-construction Federation Tower at Moscow City; the newly restored Garage (now Jewish) Museum during its brief Abramovich/Zhukova tenancy; the renovated ArtPlay cultural and commercial complex; and, in 2013, the Manezh. -
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.