At the intersection of the visual, graphic, and cinematic arts, film posters are a unique and thrilling record of a particular cultural Zeitgeist. This book brings together 250 posters from the pre-Stalin Soviet Union of the 1920s and 1930s to explore the energy and invention of this period, before Soviet Realism became the official art doctrine.
Drawn from the private collection of connoisseur Susan Pack, the selection includes the work of 27 different artists. From bold figuration to architectural elements, each artist displays a distinct style and aesthetic, as much as they collectively eschew the glamour of Hollywood for more stark, striking, even challenging images, often marked by unusual angles, dynamic compositions, and startling close-ups.
Russian-born conceptual artists Ilya and Emilia Kabakov are among the most celebrated artists of their generation. Known for their pioneering large-scale environments and installations, the artists' work fuses the everyday with the conceptual. Deeply rooted in the visual culture of Soviet society yet speaking equally to universal themes, their work is characterized by a sense of melancholia but also by humor.
Celebrating five decades of work, this book traces a line from Ilya Kabakov's early paintings, drawings, albums, and installations to the collaborative projects made with Emilia following his emigration to the West in 1987. Exploring themes of failed utopia and political disillusionment, as well as fantasies of escape and transcendence, the book also examines the relationship between aesthetics and politics, and the way painting has remained a central feature of their work. Texts by leading art writers and historians contextualize the artists' practice, amplified by the artists' own writings. Fully illustrated, this beautiful book introduces newcomers to these important, innovative artists, and serves as a key reference for those already familiar with their work.
Based in New York, Ilya Kabatov is considered the most important Russian artist to have emerged in the late-20th century. His installations are after akin to theatrical mise-en-scenes, presenting a cramped communal apartment or a flooded art museum as though they are comedies on human frustration and doomed aspirations.
Ilya (born 1933) and Emilia (born 1945) Kabakov are among the most important living Russian artists. Based in the US since 1988, the Kabakovs have developed a practice spanning drawing, painting, sculpture and installation art, grounded in the conditions of post-Stalinist Russia but also engaging universal questions of our perception of everyday life.
This publication offers a catalogue raisonn of Ilya and Emilia Kabakov's installations made between 2000 and 2016. Featuring texts by Matthias Haldemann, Emilia Kabakov and Robert Storr, it offers a complete overview of the Kabakovs' recent environmental work, including the Monumenta commission "The Strange City" (2014) at the Grand Palais in Paris. Inspired by art from the Renaissance period through the 19th century as well as utopian fantasies of the future, "The Strange City" represents the synthesis of a long artistic career.
Monumental in scale and rich in exotic detail, Konstantin Makovsky's stunning paintings epitomize the charm of Old Russia. His early career blossomed in St. Petersburg in the 1870s, where he became the darling of the Tsar's court. His popularity soon spread far beyond Russia's borders. He lived and worked in Paris and then America, becoming the premier ambassador of traditional Russian culture in the United States.
This beautifully illustrated book, the first full survey in English of Makovsky's career, positions his work at the crossroads between late Imperial St. Petersburg, Belle-Epoque Paris, and America during the Gilded Age. Three great canvases celebrating Russia's traditional wedding customs unify this survey: A Boyar Wedding Feast (1883), which launched Makovsky on a long career as a celebrity painter of historical genre scenes, Choosing the Bride (1887), and The Russian Bride's Attire (1889). All are explored through outstanding photography, including close-up details, published here for the first time.
Four fascinating essays trace the career path of this Russian artist eager for international fame. Wendy Salmond begins by establishing the Russian milieu. Russell E. Martin highlights the historical sources, artifacts and costumes on which Makovsky relied for his scenes of seventeenth-century private life. Wilfried Zeisler reveals the artist's little-known Paris period, exploring also his Orientalist paintings inspired by the Middle East and North Africa. Wendy Salmond investigates the American audience's enthusiastic reception of Makovsky's paintings. That Makovsky's canvases acquired real celebrity status among a broad American public invites intriguing questions about the nature of the international art world and the place there of Russian artists in the late nineteenth century. A valuable bibliography brings together resources on the artist.
Completed by the artist in 1922, this memoirbecame available in Englishin 1965 whenPeter Owen published this translation, and it has remained in print ever since. Lyrical and evocative, it is a key work in Chagall studies for the light it sheds on the shaping of the artist s creative genius. His deep roots in Jewish traditionreligious and secularare reflected in these recollections of his poverty-stricken youth from Witebsk, White Russia, to the Parisian art world. Together, his words and pictures paint an incomparable portrait of one of the greatest artists of this century, and of the now vanished milieu that inspired him."
Born in 1962 in Moscow, where she still lives, Olga Chernysheva is one of the most perceptive and sensitive observers of her native country's cultural and geographic landscape. Eschewing simplistic rendering of the post-Soviet political and social atmosphere, Chernysheva instead depicts a side of Russia that is rarely seen. Drawing is integral to this drive in Chernysheva's work: her charcoal renderings, with their blurred edges and delicate textures, provide the viewer with an arrestingly intimate view of her anonymous subjects as they linger, doze, and aimlessly wander. This volume documents the series of works that The Drawing Center commissioned Chernysheva to produce over the course of a month in New York City in 2015. Though she has been depicting the urban landscape for decades, she has rarely strayed from portraits of her home country.
This is a biography in English of an extraordinary polymath whose genius was stifled and finally extinguished by the Soviet Union. Today Pavel Florensky is often referred to as the Russian da Vinci.
Red Cavalry analyzes the connection between aesthetic inquiry and political commitment in Soviet Russia in the 1920s and 30s and explains some of the key moments in this relationship. Through a remarkable collection of texts by specialists like Evgeny Dovrenko, Cristina Lodder, Pascal Huyn, Richard Stites, Andrei Smirnov, Vitali Shentalinski et. al., along with documentary material, it illustrates the strategies adopted by the Soviet state to impose its ideologies using a new language, mythology, symbols, rites and heroes, and investigates the contribution made by writers, filmmakers, musicians, artists and playwrights (whom Stalin himself described as the "engineers of the soul" by examining the active participation of some in the Bolshevik propaganda, the isolation of others, and the despair felt by many.
One hundred years after the Russian Revolution, this comprehensive survey explores all aspects of its groundbreaking art
One hundred years after the Russian Revolution, Revolution: Russian Art, 1917-1932 explores one of the most momentous periods in modern world history through its groundbreaking art. The October Revolution of 1917 ended centuries of Tsarist rule and left artists such as Malevich, Tatlin, Popova and Rodchenko urgently debating what form a new "people's art" would take.Painting and sculpture were redefined by Kandinsky's boldly innovative compositions, Malevich's dynamic abstractions and the Constructivists' attempts to transform art into technical engineering. Photography, architecture, film and graphic design also experienced revolutionary changes. These debates were definitively settled in 1932, when Stalin began to suppress the avant-garde in favor of Socialist Realism--collective in production, public in manifestation and Communist in ideology. Based around a remarkable exhibition shown in Leningrad's State Russian Museum in 1932--which was to be the swansong of avant-garde art in Russia--this volume explores that revolutionary 15-year period between 1917 and 1932 when possibilities seemed limitless and Russian art flourished across every medium. Published to accompany a major exhibition at the Royal Academy of Arts, London (the first to attempt to survey the entire artistic landscape of post-Revolutionary Russia), Revolution explores the painting, sculpture, photography, film, poster art and product design of the years after the Russian Revolution. Including contributions from some of the most prominent scholars in the field (John Milner, Natalia Murray, Nick Murray, Masha Chlenova, Ian Christie, John E. Bowlt, Nicoletta Misler, Zelfira Tregulova, Faina Balakhovskaya, Evgenia Petrova and Christina Lodder), Revolution is a timely and authoritative exploration of both the idealistic aspirations and the harsh realities of the Russian Revolution and its aftermath.