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1 ANGELINA LUCENTO National Research University Higher School of Economics Tel: +7 965 314 99 54 ul. Staraya Basmannaya str. 21/4 L-107 [email protected] 105066 Moscow [email protected] Russian Federation Employment Assistant Professor, Art History and History, School of History, National Research University-Higher School of Economics, Moscow 2017-present Research Fellow, International Center for the History and Sociology of World War II and Its Consequences, National Research University-Higher School of Economics, Moscow 2015-2017 Humanities Initiative Postdoctoral Fellow, Institute for Advanced Study, Central European University, Budapest 2014-2015 Education Ph.D., Department of Art History, Northwestern University, 2014 Dissertation: “Painting for the Collective: Art, Politics, and Communication in Russia, 1918-1932” Committee: Christina Kiaer, Robert Bird, Hannah Feldman, and Mary Dietz Visiting Graduate Scholar in Residence, Department of History, Moscow State University, 2010-2011 & 2012-2013 M.A., Department of Art History, Northwestern University, 2007 Certificate in Russian Language and Area Studies, Moscow International University, 2005-2006 A.B. Bryn Mawr College, Chemistry (major) and Russian (minor), magna cum laude, 2005 2 Publications Peer Reviewed Articles “The NKVD and the Political Origins of Socialist Realism: The Persecution of the Boichukisty in Ukraine as Case Study,” under review. “Outside the Text,” The Russian Review, forthcoming. “Painting Against Empire: Béla Uitz and the Birth and Fate of Internationalist Socialist Realism,” The Russian Review 79:4 (October 2020): 578-605. “Care Outside the Comfort Zone: Maternal Aesthetics, Katrin Nenasheva, and the New Politics of Performance Art in Russia,” Performance Research 22:4 (2017): 79-88. “The Conflicted Origins of Soviet Visual Media: Painting, Photography, and Communication in Russia, 1925-1932,” Cahiers du Monde russe, 56/2-3, Avril- septembre 2015: 401-428. Book Chapters “Breakfast in Suuk Su: Visual ‘Tatarism’ on the Cusp of Soviet Empire,” in Picturing Russian Empire, eds. Valerie Knivelson, Sergei Kozlov, and Joan Neuberger (Oxford University Press, 2021), forthcoming “Surface Tension: Sam Gilliam, Modernist Painting, and the Critical Examination of Race in Post-War American Art,” Critical Riot: On the Failures of Imagination in Contemporary Art Writing and Criticism, in press Catalogue Essays “Evolution and Homogenic Love in C.R. Ashbee’s Guild of Handicraft,” Design in the Age of Darwin, eds. Stephen Eisenman and Corinne Granhof (Evanston: Northwestern University Press, 2008): 51-59. Exhibition Reviews and Critical Writing Exhibition Review, “Gastev: How to Work,” All the Russias’ Blog (NYU Jordan Center), 12 February 2020 http://jordanrussiacenter.org/news/exhibition-review-gastev-how-to-work- gallery-on-shabolovke-moscow-russia-september-4-2019-november-24- 2019/?fbclid=IwAR3XXZoiZi7lE8elp6ijCnOFGzyUBp17l0A2S5nY5scygU5DBoXUwm 8qHIk#.XkTgxBNKjUq 3 Кантор, Золотухин, Лученто и др. [Kantor, Zolotukhin, Lucento et al.], “Ревизия советского искусства: здесь и сейчас? [A Revision of Soviet Art: Here and Now?], Artguide, 24 January 2018 http://artguide.com/posts/1413 Exhibition Review, “Hyperrealism: When Reality Becomes an Illusion,” CAA.Reviews, 16 November 2016 http://www.caareviews.org/reviews/2757#.WC1ramQrL_Q Дьяконов, Лученто, Плунгян и др. [Diaconov, Lucento, Plungian et al.], “Соцреализм: исследовательские перспективы и тупики [Sotsrealism: Research Perspectives and Dead Ends], Tatlin News 2:89:156 (2016), 677-703. “Погоня за счастьем: как представляли себе социализм афроамериканские художники в США 1930-х годов? [In Pursuit of Happiness: How Did African American Artists Interpret Socialism in the USA in the 1930s?], Разногласия [Differences] No. 1, 25 February 2016 http://www.colta.ru/articles/raznoglasiya/10178 Exhibition Review, “Special Fund, 1937-1939,” National Art Museum of Ukraine, CAA.Reviews, 21 January 2016 http://www.caareviews.org/reviews/2693 Book Reviews Book Review, Moscow Vanguard Art: 1922-1992, H-SHERA, 18 July 2019 https://networks.h-net.org/node/166842/reviews/4309572/lucento-tupitsyn- moscow-vanguard-art-1922-1992 Book Review, Aesthetic Revolutions and Twentieth Century Avant-Garde Movements, H- Russia, 10 August 2017 https://networks.h-net.org/node/10000/reviews/190429/lucento-erjavec-aesthetic- revolutions-and-twentieth-century-avant Book Review, Aksenov and the Environs, Studies in Russian and Soviet Cinema, Fall 2013: 353-354. Works in Progress Moving the Masses: Painting and Communication from Budapest to Bishkek, 1918-1941 (working title), manuscript in progress “A Cultural Revolution from the ‘East:’ The Influence of TatLef and the Kazan School on the Soviet Avant-Garde,” article in preparation. Published Translations 4 Oleg V. Khlevniuk, “Top Down vs. Bottom-up: Regarding the Potential of Contemporary ‘Revisionism’,” trans. Aaron Hale-Dorrell and Angelina Lucento, Cahiers du Monde russe, forthcoming, winter 2016 Editorial Positions Field Editor, European Exhibitions, caa.reviews, 2017-present Editorial Board Member, DRUŽBOSLOVNE RAZPRAVE (Slovenia), http://druzboslovne-razprave.org/en/ 2015-present Fellowships and Awards Getty/ACLS Postdoctoral Fellowship in the History of Art, 2019-2020 Teacher of the Year Award, National Research University-Higher School of Economics 2018-2019 New Europe College International Fellowship for Advanced Study, Bucharest, Romania 2015-2016 (Declined) Fulbright-Hays Grant (Administered by Institute of International Education), Moscow State University, Moscow 2012-2013 Paris Program in Critical Theory Fellowship (Northwestern University), EHESS, Paris, Fall 2011 Fulbright Research Scholarship, Moscow State University, Moscow, 2010-2011 Paris Program in Critical Theory Fellowship (Northwestern University), Paris and Moscow 2010-2011 (Declined) Shanley Grant for Travel and Research Abroad, Northwestern University, Department of Art History Summer 2009 Graduate Research Grant, Northwestern University 2008-2009 Shanley Grant for Travel and Research Abroad, Northwestern University, Department of Art History Summer 2008 5 Summer Research Grant for Fieldwork in Berlin, Moscow, and the Baltics, Buffet Center for International Studies, Northwestern University Summer 2008 Summer Language Grant for Study in Dresden, Germany, Northwestern University, Summer 2007 University Fellowship for Graduate Study, Northwestern University 2006-2011 U.S. Department of State Scholarship for Post-graduate Study Abroad (Title VIIII), Moscow International University, Moscow 2005-2006 George Kline Fellowship for Post-graduate Study Abroad, Bryn Mawr College 2005-2006 Teaching As Instructor of Record Introduction to Global Contemporary Art, National Research University-Higher School of Economics, Moscow, Winter/Spring 2019 [In English] Art Historical Methodology: Introduction to Semiotics and Critical Theory, National Research University-Higher School of Economics, Moscow, Fall 2018 [In English] Art Historical Methodology: Introduction to Social Art History, National Research University-Higher School of Economics, Moscow, Fall 2018 [In Russian and English] Introduction to Global Contemporary Art, National Research University-Higher School of Economics, Moscow, Winter/Spring 2018 [In English] Art Historical Methodology: Introduction to Social Art History, National Research University-Higher School of Economics, Moscow, Fall 2017 [In Russian and English] Culture, Society, and War in Twentieth Century Europe (co-instructor of record, Seth Bernstein, course taught in English), National Research University-Higher School of Economics, Moscow Winter/Spring 2015-2016 Realism after Socialism: Art, Politics, and Communication in the Soviet Sphere, 1945- Present (graduate seminar), Central European University Fall 2014 Thesis supervision 6 Graduate Primary Advisor, Tatiana Volkova, “Russian Activist Art After Actionism: History and Theory,” National Research University-Higher School of Economics/Garage Museum of Contemporary Art Ph.D. Expected 2023 Primary Advisor, Jamilia Adulakhovna, «Искусство Павла Филонова в контексте реализации Госплана СССР (1920-1930-е годы): социально-исторический подход к эволюции формы и содержания творчества художника [The Art of Pavel Filonov in the Context of Soviet State Commissions (1920s-1930s): A Social Art History Approach]», National Research University-Higher School of Economics, in Russian MA Expected 2021 Primary Advisor, Sofia Dyer, «Новые Художники" и наука самовыражения: художник как куратор, критик и искусствовед в Ленинграде в 1980-х [Novye Khudozhniki" and the Science of Self-Expression: The artist as curator, art historian, and critic in 1980s Leningrad]», National Research University-Higher School of Economics, in English MA Expected 2021 Primary Advisor, Anatasiia Golubeva, «Искусство в годы военного социализма: С.Б. Телингатера на фронте [Art During Wartime Socialism: Solomon Telingater at the Front]», National Research University-Higher School of Economics, in Russian MA 2019 Primary Advisor, Polina Kotova, «Репрезентация американского искусства в советской прессе. Выставки Рокуэлла Кента и Роберта Раушенберга [The Representation of American Art in the Soviet Press: The Exhibitions of Rockwell Kent and Robert Rauschenberg]», National Research University-Higher School of Economics, in Russian MA 2019 Primary Advisor, Ekaterina Kirillina, «Комплексная марксистская экспозиция А.А. Федорова-Давыдова в контексте культурной революции: общественное восприятие
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    A GUIDE TO THE NEW EAST MEDIA KIT 2017 Contents About The Calvert Journal 3 Our vision 4 Editorial focus 5 Audience 7 Reader profiles 8 Testimonials 10 Monthly reach and engagement 12 Case study: partnership with Nike 13 Opportunities 15 photo credit coverpage: © Aikaterini About Calvert 22 Foundation 17 Gegisian, still from My Pink City (2014) ABOUT THE CALVERT JOURNAL MEDIA KIT 2017 3 The Calvert Journal calvertjournal.com The Calvert Journal is an award-winning international magazine dedicated to exploring the culture and creativity of the New East. A project of Calvert 22 Foundation, launched in January 2013 with a Russia-only focus, the magazine has successfully broadened its scope to cover the entire New East region. The Calvert Journal has established itself as the leading authority on contemporary culture, creativity and travel in the region, with sizeable followings in the USA, UK, Russia and Germany (up to 250,000 views per month). The Calvert Journal delivers a daily briefing on art, design, film, architecture, fashion and travel to a global audience through a mix of reportage, interviews, photography and video developed with the help of locally-stationed contributors and a London-based team of journalists. * Best Use of Photography Best Lifestyle Site * Best Use of Photography Promotion of art in the media Since summer 2014, The Calvert Journal has 2017 Nominee 2016 Gold Winner & 2017 Winner 2015 Winner been an official partner of the Guardian’s New * Cultural website 2015 Bronze Winner * Best Specialist Site for Journalism East Network. 2016 Honoree 2016 Commendation * Best Designed Site 2015 Winner OUR VISION THE CALVERT JOURNAL MEDIA KIT 2017 4 Our vision The Calvert Journal offers a unique perspective on the changing cultural landscape of the New East – Eastern Europe, the Balkans, Russia and Central Asia.
  • Rethinking Centralization: Innovation in Early Soviet Avant-Garde Museology

    Rethinking Centralization: Innovation in Early Soviet Avant-Garde Museology

    Rethinking Centralization: Innovation In Early Soviet Avant-Garde Museology Teofila Cruz-Uribe A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts (Museology) University of Washington ​ 2018 Committee: Wilson O’Donnell James West Program Authorized to Offer Degree: Museology ©Copyright 2018 Teofila Cruz-Uribe 1 University of Washington Abstract Rethinking Centralization: Innovation In Early Soviet Avant-Garde Museology Teofila Cruz-Uribe Chair of the Supervisory Committee: Wilson O’Donnell Museology The purpose of this thesis was to reconceptualize the organizational principle of centralization as innovative, using the early Soviet avant-garde museological experience as an historical case study (1917 to 1929). Centralization was not generally considered innovative or effective—its Soviet application especially, which had negative associations with stagnant bureaucracy and totalitarian ideology. By focusing on the centralizing agenda of the first Soviet museum administrators and their groundbreaking work in contemporary art museums, a counterfactual to the narrative that centralization was innovation-quashing was extrapolated. This research was conducted by analyzing documents pertaining to the centralized administration and agenda of the first Soviet contemporary art museums, which included: the first Soviet decrees on nationalization; proposals on the reorganization of arts administration; proposals for the inclusion of artists in museum administration; reports on the goals and achievements of the first Soviet contemporary art museums; and justifications for the creation of a unified museum fund and connecting museum network. The main innovative output of early Soviet avant-garde museology and its centralized organization was cultural equity—access to culture for all. Such ​ ​ output was innovative because of its national level of enforcement, which was enabled by the centralization of the Soviet system.