Загрузка...
Загрузка...
Модель:
Originally published in the UK as "Unofficial Art from the Soviet Union," this book "illuminated the surprising world of Russia's unofficial artists, who [led] a semi-undergroung existence, unable to exhibit much of their work. Unwilling to adhere to the only acceptable doctrine in Soviet Russia, Socialist Realism, these artists [were] regarded as subversive and subjected to a wide range of repressive measures...[this] is a major document because of its revelation of important contemporary art virtually unknown in the West." Includes brief bios of the artists, manifestoes, and more
Модель:
Originally published in the UK as "Unofficial Art from the Soviet Union," this book "illuminated the surprising world of Russia's unofficial artists, who [led] a semi-undergroung existence, unable to exhibit much of their work. Unwilling to adhere to the only acceptable doctrine in Soviet Russia, Socialist Realism, these artists [were] regarded as subversive and subjected to a wide range of repressive measures...[this] is a major document because of its revelation of important contemporary art virtually unknown in the West." Includes brief bios of the artists, manifestoes, and more
Модель:
While in other Soviet cities and republics monumental mosaics became common in the 1960s, in Moscow mosaic was used for art-deco works and social realist 'pictures'. The entire history of Soviet art is thus reflected in Moscow's metro stations, palaces of culture, military museums, hospitals, schools, and prefabricated houses. Today, many of these works are disappearing before our eyes, victims of destruction or dismantling; the majority are not listed as under state protection, and a great number of their authors are unknown. This book collects 140 Soviet-era mosaics and arranges them in chronological order. It contains four main sections - Art Deco, Socialist Realism, Modernism, and Postmodernism - and includes a list of 295 mosaics that have been identified. This guide shows well-known works by Aleksander Deyneka, Pavel Korin, Boris Chernyshev, Evgeny Ablin, Yury Korolev, and Leonid Polishchuk side by side with mosaics by artists whose names were for a long time absent from the history of art and architecture. The idea for it came from American photographer James Hill, who spent three years seeking out and photographing works of Soviet monumental art that have not received the attention they deserve and that in the post-Soviet period have often been dismissed as propaganda.
Модель: Республика
Monumental mosaics were created throughout the USSR, but they played a special role in its capital.While in other Soviet cities and republics monumental mosaics became common in the 1960s, in Moscow mosaic was used for art-deco works and social realist ‘pictures’. The entire history of Soviet art is thus reflected in Moscow’s metro stations, palaces of culture, military museums, hospitals, schools, and prefabricated houses. Today, many of these works are disappearing before our eyes, victims of destruction or dismantling; the majority are not listed as under state protection, and a great number of their authors are unknown.This book collects 140 Soviet-era mosaics and arranges them in chronological order. It contains four main sections – Art Deco, Socialist Realism, Modernism, and Postmodernism – and includes a list of 295 mosaics that have been identified. This guide shows well-known works by Aleksander Deyneka, Pavel Korin, Boris Chernyshev, Evgeny Ablin, Yury Korolev, and Leonid Polishchuk side by side with mosaics by artists whose names were for a long time absent from the history of art and architecture. The idea for it came from American photographer James Hill, who spent three years seeking out and photographing works of Soviet monumental art that have not received the attention they deserve and that in the post-Soviet period have often been dismissed as propaganda.
Модель:
The Soviet Union has left a vast heritage in interior design that is largely unknown in the West. Other than architecture and graphic or product design, interior design from the Soviet era has not yet been thoroughly investigated. For the first time ever, this book offers a comprehensive survey of the country's interior design culture between revolutionary avant-garde and late Soviet modernism. Drawing on archives that were inaccessible until recently and featuring a wealth of previously unpublished material, it documents the achievements of seven decades in the former socialist empire. Soviet design is often discredited as massive, non-ergonomic and monotonous. Yet a remarkable variety of original styles have emerged behind the iron curtain. The 1920s were marked by bold exploration and experiments at Vkhutemas and by constructivism, rationalism, and suprematism. Early in Stalin's reign constructivism was heavily criticised and post-constructivism and Soviet neo-classicism appeared alongside what became known as 'agitational furniture', inspired by the regime's propaganda. The 1930s brought Soviet Art Deco and eventually Stalinist Empire, which has produced some of the Soviet Union's most iconic buildings. In the late 1950s, after Stalin's death, the last Soviet 'big style' originated modernist and functionalist furniture, mass-produced to fit the small apartments in the Khrushchyovka multi-unit housing developments that were built in cities on a large scale. The 1960s mark the Golden Age of Soviet interior design, showing again influences by the early Soviet Avant-Garde and the Bauhaus, while most of the visionary work of a new generation of designers in the 1970s and 1980s remained unrealised.
Модель:
In the times when the Ukrainian art sphere was regulated by the Soviet institutions, local monumental and decorative arts existed at the frontier of the Party's propaganda and the artistic thirst to experiments. Nowadays, Ukrainian mosaics are wrested out of the architectural context of the country in both literal and metaphorical ways. The artworks are liquidated from the buildings they were specifically created for and indiscriminately despised as ideological pieces of no value. Furthermore, in legal terms mosaics are not defined as objects of art that makes them unguarded in the face of the decommunization process. Initially incepted as a guide, this book is an equally beneficial companion for the journey through space (in the context of the geographical area of modern Ukraine) and hitchhiking through time (in terms of Ukrainian cultural history). It incorporates the selection of Ukrainian mosaics which undermines the simplified perspective on the Soviet art heritage in Ukraine. The volume is generously supplemented with unique photographs of the documentary photographer Yevgen Nikiforov who continues the research, initially presented in the book Decommunized: Ukrainian Soviet Mosaics (2017). Together with the art historian Polina Baitsym who reveals striking linkages of the mosaics' plots with broader historical context, he will guide you through the testimonies of the genuine creativity of Ukrainian monumental artists which managed to flourish on the most infertile soil.
Модель:
A bizarrely funny, nostalgic collection of images of life under the Soviet Union - from the Instagram and Twitter accounts that have amassed a following of more than 1 million. Welcome to the USSR. Marvel at the wonders of the space race! Delight in the many fine delicacies of food and drink! Revel in the fine opportunities for work and play! Soviet Visuals invites you back in time into the strangely captivating world of the Soviet Union-through a unique collection of photography, architecture, propaganda art, advertising, design, and culture from behind the Iron Culture that will fascinate, amuse, and maybe even teach a thing or two.
Модель:
Almaty became the capital of Soviet modernism after it ceased to be Alma-Ata, as its former rivals in terms of architecture—Yerevan and Kyiv, Tashkent and Minsk—gradually lost the heritage of the period dating from the 1960s through the 1980s. The losses in Almaty were not so serious. In 1997, the capital moved to Astana, which took on the architectural representation of independent Kazakhstan. Almaty remained a working museum of Soviet modernism, where one can see the first transparent library in the world, the first postmodernist skyscraper in the USSR, and a dam constructed using the most powerful controlled explosion in history. Authors Anna Bronovitskaya and Nikolay Malinin present the architecture of the city within the broad context of art, culture, and social and political history. This book is the second in a series launched in 2016 with a guidebook to Moscow's Soviet modernist architecture. "From the 1960s through the 1980s, Alma-Ata saw the emergence of a unique blend of international modernism, Soviet colonialism, and attempts by architects to enrich the language of modernism with Kazakh national traditions. Thanks to this book I discovered a completely unfamiliar stratum of postwar Soviet architecture." Vladimir Paperny UCLA
Модель: Республика
Alexey Titarenko created the series of collages and photomontages that became Nomenklatura of Signs from 1986-1991, under the strict Soviet rule. This new publication presents the series in its entirety for the first time. Working in secret, Titarenko conceived the project as a way to translate the visual reality of Soviet life into a language that expressed its absurdity, in a hierarchy of symbols that, together, formed a nomenclature - or, in Russian, nomenklatura, a term for the system by which government posts were filled in the Soviet Union. Drawing inspiration from the aesthetics of Kazimir Malevich, Aleksandr Rodchenko, and other artists of the early 20th century Russian avant-garde, Titarenko captures an uncanny, darkly comic world in which language is controlled and subverted much like the Newspeak of George Orwell's novel 1984. The book includes an introduction by writer Jean-Jacques Mari and art historian Gabriel Bauret, as well as a critical interpretation of the series by art historian Ksenia Nouril. The book is designed by Kelly Doe Studio, NYC.
Модель:
Russian Revolutionary Posters tells the story of the development of the Soviet poster, from the revolutionary period through to the death of Stalin, revealing the way in which tumultuous events within the Soviet Union were matched by equally dramatic shifts in graphic art and design. Written and designed by David King, one of the world's foremost experts on Soviet art and himself an internationally acclaimed graphic designer, the publication features posters drawn from his unparalleled collection, well known to visitors to Tate Modern in London. The book is arranged chronologically. Captions accompany each poster, explaining the historical and artistic context in which it was produced. Constructivist posters, socialist advertising, film posters of the 1920s, classic photomontage, the heroic posters of the Great Patriotic War, biting political satire and the cult of personality of the Stalin years are all here. The great names of Soviet poster design, including Alexander Rodchenko, El Lissitsky, Gustav Klutsis, Dimitri Moor, Viktor Demi and Nina Vatolina, all feature. However, some of the most arresting posters reproduced were created anonymously or by scarcely known artists whose work will be a revelation to many. King takes us behind the scenes, explaining the process involved in the commissioning of the posters and the key figures who coordinated poster campaigns, providing personal histories of the art directors and creative directors whose vision played such a vital role in soviet poster design. With an insightful introduction and over 165 images, some of which have never been seen before, this beautifully produced book will be the definitive survey of the subject for many years to come.
Модель:
A bizarrely funny, nostalgic collection of images of life under the Soviet Union - from the Instagram and Twitter accounts that have amassed a following of more than 1 million. Welcome to the USSR. Marvel at the wonders of the space race! Delight in the many fine delicacies of food and drink! Revel in the fine opportunities for work and play! Soviet Visuals invites you back in time into the strangely captivating world of the Soviet Union-through a unique collection of photography, architecture, propaganda art, advertising, design, and culture from behind the Iron Culture that will fascinate, amuse, and maybe even teach a thing or two.
Модель:
Almaty became the capital of Soviet modernism after it ceased to be Alma-Ata, as its former rivals in terms of architecture—Yerevan and Kyiv, Tashkent and Minsk—gradually lost the heritage of the period dating from the 1960s through the 1980s. The losses in Almaty were not so serious. In 1997, the capital moved to Astana, which took on the architectural representation of independent Kazakhstan. Almaty remained a working museum of Soviet modernism, where one can see the first transparent library in the world, the first postmodernist skyscraper in the USSR, and a dam constructed using the most powerful controlled explosion in history. Authors Anna Bronovitskaya and Nikolay Malinin present the architecture of the city within the broad context of art, culture, and social and political history. This book is the second in a series launched in 2016 with a guidebook to Moscow's Soviet modernist architecture. "From the 1960s through the 1980s, Alma-Ata saw the emergence of a unique blend of international modernism, Soviet colonialism, and attempts by architects to enrich the language of modernism with Kazakh national traditions. Thanks to this book I discovered a completely unfamiliar stratum of postwar Soviet architecture." Vladimir Paperny UCLA
Модель:
The first analytical monograph about the “off-modern” work of the Soviet/post- Soviet era sculptor Georgy Frangulyan (1945, Tbilisi – lives Moscow) has a unique position in postwar European and Russian sculpture. Trained across all media at Moscow’s famed Stroganov Academy, Frangulyan is a consummate polystylistic who has completed major public monuments and private memorials, as well as scaled sculptures, in Russia and abroad. Leveraging the insights of the late Svetlana Boym, a cultural theorist, Press considers Frangulyan as an “off-modern” artist, whose aesthetics and works defy conventional thinking about post-Socialist Realism in the USSR. Press reveals how Frangulyan’s influences absorbed classicism, the avant-garde, modernism, cubism, and futurism into a diverse artistic practice. Georgy Frangulyan, Off-Modern not only clarifies how the artist’s awareness of Western modernism expanded after seeing several international exhibitions in the 1950s and 1960s, but also broad art historical influences he encountered at the Stroganov Academy. The core of the book is a detailed consideration of Frangulyan’s monumental works and sculptures, considering the content and contexts in which they were made. It identifies how Frangulyan looked beyond the Soviet canon to artists as diverse at Giotto, Delacroix, Malevich, and Manzu. Via several vignettes, Press also clarifies the Soviet academic structure, the importance of monumentalism in postwar culture, the place of bronze in modern art, and how artists like Frangulyan succeeded in a dual, state/private market milieu outside of the broader global art market. Frangulyan’s monuments and sculptures are well-known in Russia, and are in the collections of the State Tretyakov Gallery, Pushkin Fine Arts Museum, State Russian Museum, as well as public and private collections in Western Europe, including The Albertina Museum (Vienna), The Bodleian Library (Oxford), and Museo Dante (Ravenna). Today, he works from his studio and foundry, which are co-located in a historic log house (an izba) in central Moscow. The book includes prefaces by two curators associated with the Garage Museum of Contemporary Art (Moscow), Ruth Addison, and Valentin Diaconov.
Модель:
Luis Sepulveda has captured readers' hearts all around the world. His existence has been marked by a love of life, justice and art, becoming one of the most significant voices of Latin American literature. In this story we retrace some of the writer's stages in life, from his youth to his exile, up to his attaining literarily acclaim.
Модель:
The industrial revolution in the Soviet Union meant immeasurably more than the mere construction of a network of factories. In many ways, it determined the fate of the country and each of its citizens. The popularity of heroic workers was rivaled only by that of movie stars. Masses of people left their homes to build new gigantic factories. Millions labored in mines and built dams. Naturally, Soviet art could not ignore the theme of industry. Poets composed odes to construction sites, literature gained the new genre of the "industrial novel," and words like "Stakhanovite" (a worker who produces fantastically large yields), "socialist competition" and "truant" took firm places in the language. Artists made panoramas of workshops, foundries and factories, and painted portraits of shock workers. Newspapers and magazines constantly printed reports of masters of photographs of the sites where Socialism was being built. Temporal distance now allows us to speak of "industrial realism" - a unique phenomenon in Soviet painting and photography and the subject of this book.
Модель:
A vast canvas of camps, prisons, transit centres and secret police, of informers and spies and interrogators but also of everyday heroism, The Gulag Archipelago is Aleksandr Solzhenitsyn’s grand masterwork. Based on the testimony of some 200 survivors, and on the recollection of Solzhenitsyn’s own eleven years in labour camps and exile, it chronicles the story of those at the heart of the Soviet Union who opposed Stalin, and for whom the key to survival lay not in hope but in despair. A thoroughly researched document and a feat of literary and imaginative power, this edition of The Gulag Archipelago was abridged into one volume at the author’s wish and with his full co-operation.