John E. Bowlt, 1985 the Russian Avant-Garde It Is Generally
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A Legacy Regained: Niko and the Russian Avant-Garde
A LEGACY REGAINED: NIKO AND THE RUSSIAN AVANT-GARDE PALACE EDITIONS Contents 8 Foreword Evgeniia Petrova 9 Preface Job de Ruiter 10 Acknowledgements and Notes to the Reader John E. Bowlt and Mark Konecny 13 Introduction John E. Bowlt and Mark Konecny Part I. Nikolai Khardzhiev and the Russian Avant Garde Remembering Nikolai Khardzhiev 21 Nikolai Khardzhiev RudolfDuganov 24 The Future is Now! lra Vrubel-Golubkina 36 Nikolai Khardzhiev and the Suprematists Nina Suetina 43 Nikolai Khardzhiev and the Maiakovsky Museum, Moscow Gennadii Aigi 50 My Memoir of Nikolai Khardzhiev Vyacheslav Ivanov 53 Nikolai Khardzhiev and My Family Zoya Ender-Masetti 57 My Meetings with Nikolai Khardzhiev Galina Demosfenova 59 Nikolai Khardzhiev, Knight of the Avant-garde Jean-C1aude Marcade 63 A Sole Encounter Szymon Bojko 65 The Guardian of the Temple Andrei Nakov 69 A Prophet in the Wilderness John E. Bowlt 71 The Great Commentator, or Notes About the Mole of History Vasilii Rakitin Writings by Nikolai Khardzhiev Essays 75 Autobiography 76 Poetry and Painting:The Early Maiakovsky 81 Cubo-Futurism 83 Maiakovsky as Partisan 92 Painting and Poetry Profiles ofArtists and Writers 99 Elena Guro 101 Boris Ender 103 In Memory of Natalia Goncharova and Mikhail Larionov 109 Vladimir Maiakovsky 122 Velimir Khlebnikov 131 Alexei Kruchenykh 135 VladimirTatlin 137 Alexander Rodchenko 139 EI Lissitzky Contents Texts Edited and Annotated by Nikolai Khardzhiev 147 Nikolai Khardzhiev Introductions to Kazimir Malevich's Autobiography (Parts 1 and 2) 157 Kazimir Malevieh Autobiography 172 Nikolai Khardzhiev Introduction to Mikhail Matiushin's The Russian Cubo-Futurists 173 Mikhail Matiushin The Russian Cubo-Futurists 183 Alexei Morgunov A Memoir 186 Nikolai Khardzhiev Introduction to Khlebnikov Is Everywhere! 187 Khlebnikov is Everywhere! Memoirs by Oavid Burliuk, Nadezhda Udaltsova, Amfian Reshetov, and on Osip Mandelshtam 190 Nikolai Khardzhiev Introduction to Lev Zhegin's Remembering Vasilii Chekrygin 192 Lev Zhegin Remembering Vasilii Chekrygin Part 11. -
THE ARTIST's EYES a Resource for Students and Educators ACKNOWLEDGEMENTS
THE ARTIST'S EYES A Resource for Students and Educators ACKNOWLEDGEMENTS It is with great pleasure that the Bowers Museum presents this Resource Guide for Students and Educators with our goal to provide worldwide virtual access to the themes and artifacts that are found in the museum’s eight permanent exhibitions. There are a number of people deserving of special thanks who contributed to this extraordinary project. First, and most importantly, I would like to thank Victoria Gerard, Bowers’ Vice President of Programs and Collections, for her amazing leadership; and, the entire education and collections team, particularly Laura Belani, Mark Bustamante, Sasha Deming, Carmen Hernandez and Diane Navarro, for their important collaboration. Thank you to Pamela M. Pease, Ph.D., the Content Editor and Designer, for her vision in creating this guide. I am also grateful to the Bowers Museum Board of Governors and Staff for their continued hard work and support of our mission to enrich lives through the world’s finest arts and cultures. Please enjoy this interesting and enriching compendium with our compliments. Peter C. Keller, Ph.D. President Bowers Museum Cover Art Confirmation Class (San Juan Capistrano Mission), c. 1897 Fannie Eliza Duvall (1861-1934) Oil on canvas; 20 x 30 in. Bowers Museum 8214 Gift of Miss Vesta A. Olmstead and Miss Frances Campbell CALIFORNIA MODULE ONE: INTRO / FOCUS QUESTIONS 5 MODULE FOUR: GENRE PAINTING 29 Impressionism: Rebels and Realists 5 Cityscapes 30 Focus Questions 7 Featured Artist: Fannie Eliza Duvall 33 Timeline: -
Philosophy in the Artworld: Some Recent Theories of Contemporary Art
philosophies Article Philosophy in the Artworld: Some Recent Theories of Contemporary Art Terry Smith Department of the History of Art and Architecture, the University of Pittsburgh, Pittsburgh, PA 15213, USA; [email protected] Received: 17 June 2019; Accepted: 8 July 2019; Published: 12 July 2019 Abstract: “The contemporary” is a phrase in frequent use in artworld discourse as a placeholder term for broader, world-picturing concepts such as “the contemporary condition” or “contemporaneity”. Brief references to key texts by philosophers such as Giorgio Agamben, Jacques Rancière, and Peter Osborne often tend to suffice as indicating the outer limits of theoretical discussion. In an attempt to add some depth to the discourse, this paper outlines my approach to these questions, then explores in some detail what these three theorists have had to say in recent years about contemporaneity in general and contemporary art in particular, and about the links between both. It also examines key essays by Jean-Luc Nancy, Néstor García Canclini, as well as the artist-theorist Jean-Phillipe Antoine, each of whom have contributed significantly to these debates. The analysis moves from Agamben’s poetic evocation of “contemporariness” as a Nietzschean experience of “untimeliness” in relation to one’s times, through Nancy’s emphasis on art’s constant recursion to its origins, Rancière’s attribution of dissensus to the current regime of art, Osborne’s insistence on contemporary art’s “post-conceptual” character, to Canclini’s preference for a “post-autonomous” art, which captures the world at the point of its coming into being. I conclude by echoing Antoine’s call for artists and others to think historically, to “knit together a specific variety of times”, a task that is especially pressing when presentist immanence strives to encompasses everything. -
Politics and History of 20Th Century Europe Shifted Radically, Swinging Like a Pendulum in a Dramatic Cause and Effect Relationship
Politics and history of 20th Century Europe shifted radically, swinging like a pendulum in a dramatic cause and effect relationship. I explored the correlation between art movements and revolutions, focusing specifically on Russian Constructivism and the Russian Revolution in the 1920s, as well as the Punk movement in East Germany that instigated the Fall of the Berlin Wall. I am fascinated by the structural similarities of these movements, and their shared desire of egalitarianism, which progressed with the support of opposing political ideologies. I chose fashion design because it was at the forefront of both Constructivism and Punk, and because it is what I hope to pursue as a career. After designing a full collection in 2D, I wanted to challenge myself by bringing one of my garments to life. The top is a plaster cast cut in half and shaped with epoxy and a lace up mechanism so that it can be worn. A paste made of plaster and paper pulp serves to attach the pieces of metal and create a rough texture that produces the illusion of a concrete wall. For the skirt, I created 11 spheres of various sizes by layering and stitching together different shades of white, cream, off-white, grey, and beige colored fabrics, with barbed wire and hardware cloth, that I then stuffed with Polyfil. The piece is wearable, and meant to constrict one’s freedom of movement - just like the German Democratic Party constricted freedom of speech in East Germany. The bottom portion is meant to suffocate the body in a different approach, with huge, outlandish, forms like the ones admired by the Constructivists. -
Contemporary Art in Indian Context
Artistic Narration, Vol. IX, 2018, No. 2: ISSN (P) : 0976-7444 (e) : 2395-7247Impact Factor 6.133 (SJIF) Contemporary Art in Indian Context Dr. Hemant Kumar Rai Richa Singh Asso. Prof., Research Scholar Deptt. of Drawing & Painting M.F.A. M.M.H. College B.Ed. Ghaziabad, U.P. Reference to this paper should be made as follows: Abstract: This article has a focus on Contemporary Art in Indian context. Dr. Hemant Kumar Rai Through this article emphasizesupon understanding the changes in Richa Singh, Contemporary Art over a period of time in India right from its evolution to the economic liberalization period than in 1990’s and finally in the Contemporary Art in current 21st century. The article also gives an insight into the various Indian Context, techniques and methods adopted by Indian Contemporary Artists over a period of time and how the different generations of artists adopted different techniques in different genres. Finally the article also gives an insight Artistic Narration 2018, into the current scenario of Indian Contemporary Art and the Vol. IX, No.2, pp.35-39 Contemporary Artists reach to the world economy over a period of time. key words: Contemporary Art, Contemporary Artists, Indian Art, 21st http://anubooks.com/ Century Art, Modern Day Art ?page_id=485 35 Contemporary Art in Indian Context Dr. Hemant Kumar Rai, Richa Singh Contemporary Art Contemporary Art refers to art – namely, painting, sculpture, photography, installation, performance and video art- produced today. Though seemingly simple, the details surrounding this definition are often a bit fuzzy, as different individuals’ interpretations of “today” may widely vary. -
Redalyc.Giorgio Morandi and the “Return to Order”: from Pittura
Anales del Instituto de Investigaciones Estéticas ISSN: 0185-1276 [email protected] Instituto de Investigaciones Estéticas México AGUIRRE, MARIANA Giorgio Morandi and the “Return to Order”: From Pittura Metafisica to Regionalism, 1917- 1928 Anales del Instituto de Investigaciones Estéticas, vol. XXXV, núm. 102, 2013, pp. 93-124 Instituto de Investigaciones Estéticas Distrito Federal, México Available in: http://www.redalyc.org/articulo.oa?id=36928274005 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative MARIANA AGUIRRE laboratorio sensorial, guadalajara Giorgio Morandi and the “Return to Order”: From Pittura Metafisica to Regionalism, 1917-1928 lthough the art of the Bolognese painter Giorgio Morandi has been showcased in several recent museum exhibitions, impor- tant portions of his trajectory have yet to be analyzed in depth.1 The factA that Morandi’s work has failed to elicit more responses from art historians is the result of the marginalization of modern Italian art from the history of mod- ernism given its reliance on tradition and closeness to Fascism. More impor- tantly, the artist himself favored a formalist interpretation since the late 1930s, which has all but precluded historical approaches to his work except for a few notable exceptions.2 The critic Cesare Brandi, who inaugurated the formalist discourse on Morandi, wrote in 1939 that “nothing is less abstract, less uproot- ed from the world, less indifferent to pain, less deaf to joy than this painting, which apparently retreats to the margins of life and interests itself, withdrawn, in dusty kitchen cupboards.”3 In order to further remove Morandi from the 1. -
The Origins and Meanings of Non-Objective Art by Adam Mccauley
The Origins and Meanings of Non-Objective Art The Origins and Meanings of Non-Objective Art Adam McCauley, Studio Art- Painting Pope Wright, MS, Department of Fine Arts ABSTRACT Through my research I wanted to find out the ideas and meanings that the originators of non- objective art had. In my research I also wanted to find out what were the artists’ meanings be it symbolic or geometric, ideas behind composition, and the reasons for such a dramatic break from the academic tradition in painting and the arts. Throughout the research I also looked into the resulting conflicts that this style of art had with critics, academia, and ultimately governments. Ultimately I wanted to understand if this style of art could be continued in the Post-Modern era and if it could continue its vitality in the arts today as it did in the past. Introduction Modern art has been characterized by upheavals, break-ups, rejection, acceptance, and innovations. During the 20th century the development and innovations of art could be compared to that of science. Science made huge leaps and bounds; so did art. The innovations in travel and flight, the finding of new cures for disease, and splitting the atom all affected the artists and their work. Innovative artists and their ideas spurred revolutionary art and followers. In Paris, Pablo Picasso had fragmented form with the Cubists. In Italy, there was Giacomo Balla and his Futurist movement. In Germany, Wassily Kandinsky was working with the group the Blue Rider (Der Blaue Reiter), and in Russia Kazimer Malevich was working in a style that he called Suprematism. -
Cubism (Surface—Plane), 1912
perished because of a negative and exclusive solution to the question of shading. Our age is obliged by force of circumstances to finish what our predeces- sors passed on to us. The path of search in this direction is broad, its bends are diverse, its forks numerous; the solutions will be many. Among them, those connected in our art with the name of A. Exter will remain as an ex- ample of courage, freedom, and subtlety. The upsurge of strength and courage in the plastic arts wanes neither beyond the Rhine nor at home, and it is expressed in the high level of pure painting unprecedented in our coun- try, a phenomenon that is characteristic of its contemporary state. DAVID BURLIUK Cubism (Surface—Plane), 1912 For biography see p. 8. The text of this piece, "Kubizm," is from an anthology of poems, prose pieces, and articles, Poshchechina obshchestvennomu vkusu [A Slap in the Face of Public Taste] (Moscow, December 1912 [according to bibl. R350, p. 17, although January 1913, according to KL], pp. 95-101 [bibl. R275]. The collection was prefaced by the famous declaration of the same name signed by David Burliuk, Velimir Khlebni- kov, Aleksei Kruchenykh, and Vladimir Mayakovsky and dated December 1912. The volume also contained a second essay by David Burliuk on texture [bibl. R269], verse by Khlebnikov and Benedikt Livshits, and four prose sketches by Vasilii Kan- dinsky [for further details see bibl. 133, pp. 45-50]. Both the essay on cubism and the one on texture were signed by N. Burliuk, although it is obvious that both were written by David and not by Nikolai (David's youngest brother and a poet of some merit). -
Parcours Pédagogique Collège Le Cubisme
PARCOURS PÉDAGOGIQUE COLLÈGE 2018LE CUBISME, REPENSER LE MONDE LE CUBISME, REPENSER LE MONDE COLLÈGE Vous trouverez dans ce dossier une suggestion de parcours au sein de l’exposition « Cubisme, repenser le monde » adapté aux collégiens, en Un autre rapport au préparation ou à la suite d’une visite, ou encore pour une utilisation à distance. réel : Ce parcours est à adapter à vos élèves et ne présente pas une liste d’œuvres le traitement des exhaustive. volumes dans l’espace Ce dossier vous propose une partie documentaire présentant l’exposition, suivie d’une sélection d’œuvres associée à des questionnements et à des compléments d’informations. L’objectif est d’engager une réflexion et des échanges avec les élèves devant les œuvres, autour de l’axe suivant « Un autre rapport au réel : le traitement des volumes dans l’espace ». Ce parcours est enrichi de pistes pédadogiques, à exploiter en classe pour poursuivre votre visite. Enfin, les podcasts conçus pour cette exposition vous permettent de préparer et d’approfondir in situ ou en classe. Suivez la révolution cubiste de 1907 à 1917 en écoutant les chroniques et poèmes de Guillaume Apollinaire. Son engagement auprès des artistes cubistes n’a jamais faibli jusqu’à sa mort en 1918 et a nourri sa propre poésie. Podcasts disponibles sur l’application gratuite du Centre Pompidou. Pour la télécharger cliquez ici, ou flashez le QR code situé à gauche. 1. PRÉSENTATION DE L’EXPOSITION L’exposition offre un panorama du cubisme à Paris, sa ville de naissance, entre 1907 et 1917. Au commencement deux jeunes artistes, Georges Braque et Pablo Picasso, nourris d’influences diverses – Gauguin, Cézanne, les arts primitifs… –, font table rase des canons de la représentation traditionnelle. -
The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture
MARJORIE PERLOFF Avant-Garde, Avant Guerre, and the Language of Rupture THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON FUTURIST Marjorie Perloff is professor of English and comparative literature at Stanford University. She is the author of many articles and books, including The Dance of the Intellect: Studies in the Poetry of the Pound Tradition and The Poetics of Indeterminacy: Rimbaud to Cage. Published with the assistance of the J. Paul Getty Trust Permission to quote from the following sources is gratefully acknowledged: Ezra Pound, Personae. Copyright 1926 by Ezra Pound. Used by permission of New Directions Publishing Corp. Ezra Pound, Collected Early Poems. Copyright 1976 by the Trustees of the Ezra Pound Literary Property Trust. All rights reserved. Used by permission of New Directions Publishing Corp. Ezra Pound, The Cantos of Ezra Pound. Copyright 1934, 1948, 1956 by Ezra Pound. Used by permission of New Directions Publishing Corp. Blaise Cendrars, Selected Writings. Copyright 1962, 1966 by Walter Albert. Used by permission of New Directions Publishing Corp. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1986 by The University of Chicago All rights reserved. Published 1986 Printed in the United States of America 95 94 93 92 91 90 89 88 87 86 54321 Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. The futurist moment. Bibliography: p. Includes index. 1. Futurism. 2. Arts, Modern—20th century. I. Title. NX600.F8P46 1986 700'. 94 86-3147 ISBN 0-226-65731-0 For DAVID ANTIN CONTENTS List of Illustrations ix Abbreviations xiii Preface xvii 1. -
"The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937
"The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Johnson, Samuel. 2015. "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463124 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 “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 A dissertation presented by Samuel Johnson to The Department of History of Art and Architecture in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History of Art and Architecture Harvard University Cambridge, Massachusetts May 2015 © 2015 Samuel Johnson All rights reserved. Dissertation Advisor: Professor Maria Gough Samuel Johnson “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 Abstract Although widely respected as an abstract painter, the Russian Jewish artist and architect El Lissitzky produced more works on paper than in any other medium during his twenty year career. Both a highly competent lithographer and a pioneer in the application of modernist principles to letterpress typography, Lissitzky advocated for works of art issued in “thousands of identical originals” even before the avant-garde embraced photography and film. -
The T Ransrational Poetry of Russian Futurism Gerald J Ara,Tek
The T ransrational Poetry of Russian Futurism E Gerald J ara,tek ' 1996 SAN DIEGO STATE UNIVERSilY PRESS Calexico Mexicali Tijuana San Diego Copyright © 1996 by San Diego State University Press First published in 1996 by San Diego State University Press, San Diego State University, 5500 Campanile Drive, San Diego, California 92182-8141 http:/fwww-rohan.sdsu.edu/ dept/ press/ All rights reserved. -', Except for brief passages quoted in a review, no part of thisb ook m b ay e reproduced in an form, by photostat, microfilm, xerography r y , o any other means, or incorporated into any information retrieval system, electronic or mechanical, withoutthe written permission of thecop yright owners. Set in Book Antiqua Design by Harry Polkinhorn, Bill Nericcio and Lorenzo Antonio Nericcio ISBN 1-879691-41-8 Thanks to Christine Taylor for editorial production assistance 9 8 7 6 5 4 3 2 1 Acknowledgements Research for this book was supported in large part by grants in 1983, 1986, and 1989 from the International Research & Ex changes Board (IREX), with funds provided by the National En dowment for the Humanities, the United States Information Agency, and the US Department of State, which administers the Russian, Eurasian, and East European Research Program (Title VIII). In addition, I would like to express my gratitude to the fol lowing institutions and their staffs for aid essential in complet ing this project: the Fulbright-Bayes Senior Scholar Research Program for further support for the trips in 1983 and 1989, the American Council of Learned Societies for further support for the trip in 1986, the Russian Academy of Sciences, and the Brit ish Library; iri Moscow: to the Russian State Library, the Rus sian State Archive of Literature and Art, the Gorky Institute of World Literature, the State Literary Museum, and the Mayakovsky Museum; in St.