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Titre:
Moscow vanguard art : 1922-1992

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Résumé:
Ambitious and interdisciplinary, "Moscow vanguard art: 1922-1992 tells the story of generations of artists who resisted Soviet dictates on aesthetics, spanning the Russian avant-garde, socialist realism, and Soviet postwar art in one volume. Drawing on art history, criticism, and political theory, Margarita Tupitsyn unites these three epochs, mapping their differences and commonalities, ultimately reconnecting the postwar vanguard with the historical avant-garde. With a focus on Moscow artists, the book chronicles how this milieu achieved institutional and financial independence, and reflects on the theoretical and visual models it generated in various media, including painting, photography, conceptual, performance, and installation art. Generously illustrated, this ground-breaking volume, published in the year that marks the centennial of the October Revolution, demonstrates that, regardless of political repression, the spirit of artistic experiment never ceased to exist in the Soviet Union.

Titre:
Russian Dada 1914-1924

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This is the first book to approach Russian avant-garde art from the perspective of the anti-art canons associated with the international Dada movement. The works described and documented in Russian Dada were produced at the height of Dada's flourishing, between World War I and the death of Vladimir Lenin—who, incidentally, was a frequent visitor to Cabaret Voltaire in Zurich, the founding site of Dada. Like the Dadaists, the Russian avant-gardists whose works appear in this volume strove for internationalism, fused the verbal and visual, and engaged in eccentric practices and pacifist actions, including outrageous performances and anti-war campaigns. ''Russian Dada'', which accompanies a major exhibition at the Museo Reina Sofia, Madrid, includes 250 images and essays by leading art historians.

Titre:
El Lissitzky : beyond the abstract cabinet

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Résumé:
Lazar Markovich Lissitzky is widely known as a Russian avant-garde artist who made significant contributions to abstract art in the 1920s. Until now his experiments with photography, photomontage, and graphic and exhibition designs in the 1920s and throughout the 1930s have not been documented and thoroughly analyzed. This book explores both the political and aesthetic aspects of Lissitzky's late multimedia work from his designs for the Abstract Cabinet to his death in 1941. The author and the two contributors give special attention to Lissitzky's intense collaboration first with German and then with Soviet photographers, designers, and filmmakers, and they discuss how his various personal friendships and acquaintances influenced the directions he took in photography and design. The book presents photographic works by Lissitzky and these other artists as well as some of Lissitzky's early non-objective art that foreshadows his experiments in figurative art. It also includes Lissitzky's correspondence with his Western colleagues and his wife Sophie Kueppers. This book will accompany an exhibition of Lissitzky's photographic works at the Sprengel Museum in Hannover, Germany, Museu d'Art Contemporani de Barcelona, and Fondaçao de Serralves, Porto.

Titre:
Rodchenko and Popova: defining constructivism

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$51.95
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Rodchenko and Popova is a comprehensive account of their creative development, from their movement through different mediums to their passionate rejection of “art for art’s sake.” Following the Russian Revolution, two artists, Aleksandr Rodchenko (1891-1956) and Liubov Popova (1889-1924), propelled the avant-garde in an exciting new direction. As pioneers of the Constructivist movement, Rodchenko and Popova created an astonishing array of iconic work that reflected the new political and cultural landscape of their nation. In this groundbreaking book, leading authorities on Constructivism and the Russian avant-garde shed new light on the artists’ achievements and examine the extent of their influence on twentieth-century graphic design, fashion, theater, and film.