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© 2011 Adrian Barr ALL RIGHTS RESERVED © 2011 Adrian Barr ALL RIGHTS RESERVED ARCHAEOLOGIES OF THE AVANT-GARDE: MOSCOW CONCEPTUALISM AND THE LEGACIES OF SOVIET MODERNISM By ADRIAN BARR A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Art History written under the direction of Dr. Jane A. Sharp and approved by ____________________________________ ____________________________________ ____________________________________ ____________________________________ New Brunswick, New Jersey May 2011 ABSTRACT OF THE DISSERTATION Archaeologies of the Avant-Garde: Moscow Conceptualism and the Legacies of Soviet Modernism By ADRIAN BARR Dissertation Director: Jane A. Sharp This dissertation engages historical accounts of the art of the Moscow conceptualist circle and proposes a different understanding of its purpose and significance for Russian and international art history. It challenges the current critical narratives of Moscow Conceptualism as a Soviet variant of a globalizing conceptual art and argues that the movement cannot be assimilated by the taxonomical categories of Western art history. Rather, I contend that Moscow Conceptualism must be historically and locally situated within the discursive framework of the late Soviet era. Through extended analyses of major Moscow conceptualist works, I demonstrate that the movement is distinguished by its purposive investigation of the organizational structures of Soviet history. These investigations occur at a juncture in which the teleological frameworks of official Soviet discourse had become self-evidently obsolete and incapable of orientating the present within a broader historical manifold. It is the uncanny space that exists between the modernist and Utopian foundations of Soviet socialism and the stagnation and alienation of contemporary Soviet life which this dissertation frames as a primary subject of Moscow conceptualist enquiry. ii ACKNOWLEDGMENTS The submission of this dissertation represents the conclusion of a journey which began on January 12th, 2005, when I arrived on a wintry New York twilight to begin my studies at Rutgers. In the intervening years, I have accumulated a great many debts of gratitude and goodwill to a host of people and institutions. Firstly, I wish to thank Dr. Norton Dodge and his wife Nancy, whose fellowship brought me to America and supported me here. That this dissertation engages with a number of works in his vast collection is, I hope, both an argument for the significance of the Dodge Collection and a measure of what I gained from working with this art. Thank you Norton. Your passion and enthusiasm will remain with me. In my time at Rutgers, I have also benefited from the guidance, advice, intelligence, and friendship of Professor Jane Sharp, my principal advisor. Jane, your sweeping knowledge of your subject is both intimidating and infectiously stimulating. I look forward to continuing these conversations in the coming years. In my time as a Dodge Fellow, the Zimmerli Museum has been a consistently supportive environment for my studies. I especially wish to thank Alla Rosenfeld, curator of Russian art, whose energy and intelligence are greatly missed. At Rutgers, I gained much from discussions, classes, and exams with professors Susan Sidlauskas, Andres Zervigon, Carla Yanni, and Jochen Hellbeck. The external courses I took, at NYU with Boris Groys and at Princeton with Caryl Emerson and Jan Gros, embodied the smorgasbord of intellectual opportunity which makes the New York area simply without equal in the world of higher education. My studies were also supported by travel awards from the Graduate School at Rutgers and a generous dissertation writing grant from the Malevich Society. I acknowledge these iii with immense gratitude. In my time in the doctoral program at Rutgers, I am grateful to the support and the friendship of Yelena Kalinsky, Jeremy Canwell, Geralyn Colvil, Sascha Scott, Kevin Edwards, Sarah Wilkins, Amy Bryzgel, Jeffrey Kessler, and Ljubomir Milanovic. My time in and around Princeton and New York (and Ithaca) was immeasurably enriched by Matthew and Kat Saks, Diana Tuite, Ricky Anderson, Amy Gale, Patrick Emmanuel, Tom Zanker, and Mark Johnston. In addition, my diaspora of New Zealand (and New Zealand-connected) friends were constantly supportive. I thank Tess Shewry, whose friendship, wit, and warmth is irreplaceable; Alistair Millward for the many coffees and conversations, and the too few tramps; Tony Stephens for the London accommodations and the wonderful walks; Steve and Katie, not least for the time in Tobermory; Eric Duggan, Jo Hoare, Bruce Galloway, Richard Davis, and Hannah McGregor, for the tramps and accompanying conversations; Aaron Withers, who did indeed come over; Paul Calcott for the debates and day tramps; Juliet Armstrong; Graham Bussell and Emily Faith for tramping and for flawless hospitality; Tara Warner for grand times in Moscow; Erika Wolf for some fine nights drinking; Sarah Kernohan for good times in New York and beyond; Peter Stupples; Colin Dowsett; Grayson Cooke; Holiday Powell; James Irwin; Wendell Cooke; Kathy Barry; Stuart Shepherd, and so many others. And, of course, to Stacy Smith, whose friendship and support have been priceless. Finally, my deepest thanks go out to my family, who have supported me through these six years with much love and encouragement. To my mother Polly, my father Alistair, my sister Rowan, my brother Max, my grandmother Alma, my stepfather Trevor, and my stepbrother Jamie, this obscure tome is dedicated to you. *** iv TABLE OF CONTENTS Abstract ii Acknowledgments iii Table of Contents v List of Illustrations vi Introduction ix Chapter One: Moscow Conceptualism and Western Conceptual Art 1 Chapter Two: Moscow Conceptualism and the Epoch of Late Socialism 64 Chapter Three: Archaeologies of the Avant-Garde: Space and Subjectivity in Moscow Conceptualism 111 Chapter Four: Traumatic Objects: Moscow Conceptualism and the Soviet Past 168 Conclusion 211 Bibliography 214 Illustrations Chapter Two 228 Illustrations Chapter Three 255 Illustrations Chapter Four 268 v LIST OF ILLUSTRATIONS 2.1 Erik Bulatov, Krasikov Street, 1976. 228 2.2 Ilya Kabakov, title page, Shower, 1970s. 229 2.3 Ilya Kabakov, Shower, 1970s. 230 2.4 Ilya Kabakov, Shower, 1970s. 231 2.5 Ilya Kabakov, Shower, 1970s. 232 2.6 Ilya Kabakov, Shower, 1970s. 233 2.7 Ilya Kabakov, Shower, 1970s. 234 2.8 Viktor Pivovarov, Litso, 1975. Panel One, “Litso.” 235 2.9 Viktor Pivovarov, Litso, 1975. Panel Two, “Hello!” 236 2.10 Viktor Pivovarov, Litso, 1975. Panel Three, “Do you remember me?” 237 2.11 Viktor Pivovarov, Litso, 1975. Panel Four, “You remember yesterday, the green bench in the shadow of the bushes?” 238 2.12 Viktor Pivovarov, Litso, 1975. Panel Five, “You don’t remember? I was at Maroseika, we drank tea and recalled friends who had left in vain.” 239 2.13 Viktor Pivovarov, Litso, 1975. Panel Six, “And our friend was with us. He died.” 240 2.14 Viktor Pivovarov, Litso, 1975. Panel Seven, “You don’t remember? The courtyard from our childhood, the dovecoat, and the cloudy blue sky overhead…” 241 2.15 Viktor Pivovarov, Litso, 1975. Panel Eight, “There was a bitter frost. Do you remember?” 242 2.16 Viktor Pivovarov, Litso, 1975. Panel Nine, “We met at the Kirovsky gates…” 243 2.17 Viktor Pivovarov, Litso, 1975. Panel Ten, “You had a loaf of bread and a packet of butter in your hands.” 244 vi 2.18 Viktor Pivovarov, Litso, 1975. Panel 11, “And a beautiful woman walked past.” 245 2.19 Viktor Pivovarov, Litso, 1975. Panel 12, “Oh yes! I was wearing a shirt and old jeans.” 246 2.20 Viktor Pivovarov, Litso, 1975. Panel 13, “But my face, do you remember my face?” 247 2.21 Viktor Pivovarov, Litso, 1975. Panel 14, “No, you don’t remember.” 248 2.22 Viktor Pivovarov, Litso, 1975. Panel 15, “Well then. Goodbye.” 249 2.23 Viktor Pivovarov, Litso, 1975. Panel 16, “I have to go.” 250 2.24 Viktor Pivovarov, Litso, 1975. Panel 17, “However, I don’t lose hope that we will meet again somewhere, sometime.” 251 2.25 Viktor Pivovarov, Litso, 1975. Panel 18, “And you will recognize me without fail.” 252 2.26 Viktor Pivovarov, Litso, 1975. Panel 19, “And remember, perhaps,” 253 2.27 Viktor Pivovarov, Litso, 1975. Panel 20, “My face.” 254 3.1 Igor Makarevich, Stratographic Structures, or, 25 Memories of a Friend, 1978. 255 3.2 Igor Makarevich, The Case of Sensations (detail), 1979. 256 3.3 Valentina Kulagina, International working women’s day is the day of assessment of socialist competition, poster, 1930. 257 3.4 Kazimir Malevich, Suprematist Composition No. 56, 1916. 258 3.5 Unknown photographer: Unovis classroom, 1921. 259 3.6 Unknown artist, “Cooperation liberates women from the burdens of housekeeping. To the new everyday life through cooperation,” 1924. 260 3.7 Boris Vladimirsky, Roses for Stalin, 1949. 261 3.8 Erik Bulatov, Horizon, 1971-72. 262 3.9 Erik Bulatov, Skier, 1971-74. 263 vii 3.10 Ilya Kabakov, Where Are They?, 1971. 264 3.11 Ilya Kabakov, Taking Out The Garbage Can, 1980. 265 3.12 Ilya Kabakov, The Man Who Flew into Space from His Apartment, 1985. View of installation, Ronald Feldman Galleries, 1988. 266 3.13 Ilya Kabakov, The Man Who Flew into Space from His Apartment, 1985. View of installation, Moscow studio, 1985. 267 4.1 Igor Makarevich, photograph from Exodus series, 1977. 268 4.2 Igor Makarevich, photograph from Exodus series, 1977. 268 4.3 Igor Makarevich, photograph from Exodus series, 1977. 269 4.4 Viktor Pivovarov, The Garden, album panel, 1976. 270 4.5 Viktor Pivovarov, The Garden, album panel, 1976. 271 4.7 Ilya Kabakov, The Rope of Life, 1985. Detail of installation, Fred Hoffman Gallery, Santa Monica, 1990. 272 4.8 Ilya Kabakov, The Rope of Life, detail of concept drawing, 1995. 273 4.9 Ilya Kabakov, The Man Who Never Threw Anything Away, 1988.
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