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  • CONFERENCE: Avant-Garde Magazines in Central Europe (Budapest; September 17-19, 2015)

    Kassák Museum, Fö tér 1, 1033 Budapest, Hungary, September 17 - 19, 2015
    Registration deadline: Sep 11, 2015

    Local Contexts / International Networks – Avant-Garde Magazines in Central Europe (1910–1935)

    The subject of the conference is the ‘Central European avant-garde magazine’, arguably the most important medium of communication for progressive literature and visual arts in the region during and after WWI. Given the multifaceted nature of the phenomenon, the analysis will take an interdisciplinary perspective and employ several different approaches. The avant-garde magazine will be examined as a discursive space of avant-garde communication, as a ‘Gesamtkunstwerk’, and as a historical document. As the recent conjuncture in scholarship positions the art of the region in the international context, our aim is to draw more attention to the interrelationships between the local contexts and international networks of Central European avant-gardes.

    How did the different cultural and historical characteristics affect the ‘local’ avant-gardes of Central Europe? How are the avant-garde magazines of Central Europe related to each other? Accordingly, how could ‘Central European avant-gardes’ be described from the perspectives of Kraków, Warsaw, Prague, Bratislava or Budapest? Through detailed case studies, the conference will emphasize the complex and problematic nature of Central European avant-garde magazines regarding the questions of national/local and international/cosmopolitan. The conference includes monographic, thematic and problem-oriented lectures on current research on local avant-garde magazines published during WWI and in the interwar period.

    PROGRAM

    THURSDAY, 17 SEPTEMBER 2015

    10.00–11.00: Plenary I

    Edit Sasvári (Kassák Museum): The Kassák Museum in Central and East European perspective

    Eszter Balázs (Kodolányi János University of Applied Arts): ‘Artist and Public Intellectual, Artist or Public Intellectual’ – Polemics of the Hungarian Avant-Garde on New Art, 1915–1918

    11.00–11.30: Coffee

    11.30-13.30: Session I

    Oliver Botar (University of Manitoba, Winnipeg): Moholy-Nagy: Art as Information / Information as Art

    Jindrich Toman (University of Michigan, Ann Arbor): Moholy Nagy’s idea of a Synthetic Journal

    Sonia de Puineuf (Université de Bretagne Occidentale, Brest): “Syntetische Zeitschrift” – Study cases Nová Bratislava and Nový Svet

    13.30–15.00: Lunch

    15.00–17.00: Session II

    Lucie ?esálková (Masaryk University, Brno): Artuš ?erník between national and media contexts

    Vendula Hnídková (Academy of Sciences of the Czech Republic, Prague): Styles of Styl – Platform for Czech modern architecture

    Przemysław Strożek (Polish Academy of Sciences, Warsaw): Chaplin goes viral – Avant-garde publications and the images of popular culture

    FRIDAY, 18 SEPTEMBER 2015

    10.00–11.00: Plenary II

    Gábor Dobó – Klára Rudas – Merse Pál Szeredi (Kassák Museum): Curators’ introduction to the exhibition ‘Signal to the World – War - Avant-Garde - Kassák’

    Merse Pál Szeredi (Kassák Museum): The politics of artistic utopia – Lajos Kassák and MA in Vienna (1920–1925)

    Gábor Dobó (Kassák Museum): “Extraterrestrials in Budapest” – Self-description of Kassák’s avant-garde magazine Dokumentum (1926–1927)

    11.00–11.30: Coffee

    11.30-13.30: Session III

    Kinga Siewior (Jagiellonian University, Kraków): From aesthetics to anthropology – The concept of East in Zenit magazine

    Jakub Kornhauser (Jagiellonian University, Kraków): From repulsion to attraction – A long story of surrealism in Romanian avant-garde magazines

    Dušan Barok (Monoskop, Bratislava): Body of Thought – Artists’ texts and their contribution to theory

    13.30–15.00: Lunch

    15.00–16.30: Session IV

    Klára Prešnajderová (Slovak Design Museum, Bratislava): Two magazines with two different concepts – Slovenská Grafia and Nová Bratislava

    Michał Burdziński (University of Warsaw, Warsaw): How much did our graphic arts fly aloft? On defining the spirit of avant-garde pretensions in an impecunious world

    Hanna Marciniak (Charles University, Prague): The D Programme and the Czech avant-garde in the 1940s

    16.30–17.00: Coffee

    17.00–18.30: Session V

    Markéta Theinhardt (Université Paris-Sorbonne, Paris): L’Art et les Artistes: Revue mensuelle d’art ancien et moderne (1905–1939) – Central European art between modernism and conservatism

    Vojtěch Lahoda (Academy of Sciences of the Czech Republic, Prague): Global Art History “avant la lettre” – The Case of Um?lecký m?sí?ník (1911–1914)

    Lenka Bydžovská (Academy of Sciences of the Czech Republic, Prague): On the extreme left? The Dev?tsil monthly ReD in international networks (1927–1931)

    SATURDAY, 19 SEPTEMBER 2015

    10.00–12.00: Session VI

    Piotr Rypson (National Museum in Warsaw): Tadeusz Peiper’s strategy for Zwrotnica magazine

    Michalina Kmiecik (Jagiellonian University, Kraków): The aftermath of Zwrotnica? Kraków avant-garde and its magazines in the 1930s

    Michał Wenderski (Adam Mickiewicz University, Poznan): Between Poland and the Low Countries – Mutual relations and cultural exchange between constructivist magazines and avant-garde formations

    12.00–13.00: Lunch

    13.00–14.30: Roundtable on the research of Central-European avant-garde magazines

    The conference is free of charge, however, for organisational reasons we ask to register in advance – before 11 September 2015 – via e-mail to kassakmuzeum@pim.hu.

    The conference is supported by the International Visegrad Fund and the Centre français de recherche en sciences sociales (CEFRES).

    The conference is accompanied by the temporary exhibition entitled ‘Signal to the World – War - Avant-Garde - Kassák’ dedicated to the first avant-garde magazine of Lajos Kassák, A Tett [The Action] published between 1915 and 1916. The exhibition marks the centenary of Kassák’s ‘debut’. The Kassák Museum is the only thematic showroom of the historical avant-garde in Hungary. Its objectives in this regard are to reach a broader audience and to establish the museum as a regional focus point for research into the avant-garde and modernism.

  • CFP: Museum Global? 1904-1950 (Duesseldorf; January 21-22, 2016)

    Kunstsammlung Nordrhein-Westfalen, Düsseldorf, January 21 - 22, 2016
    Deadline: Sep 27, 2015

    Museum global? Multiple Perspectives on Art, 1904–1950

    Currently, profound societal upheavals require a repositioning of the concept of “Modern Art.” As a museum, the Kunstsammlung Nordrhein-Westfalen is responding to the effects of globalization and digitalization by devoting itself to the pressing theme of “globalism” and the challenges associated with it.

    With the project “museum global?” (2015–2017), the Kunstsammlung Nordrhein-Westfalen interrogates the grand narratives of Western modernism and its underlying canon. Through a research project conferences followed by exhibitions, and with a point of departure in our own collection, strongly grounded in the epoch of classical modernism, and hence in the art of Europe and North America, “museum global?” focuses on the period between 1904 and 1950. The oldest works in the Kunstsammlung Nordrhein-Westfalen date from the early 20th century. A historical prelude is supplied by Henri Matisse’s small format painting Le goûter (Le golfe de Saint-Tropez) (1904). The collection’s core is formed by an ensemble of works by Paul Klee, an artist who was defamed as “degenerate” by the National Socialists and dismissed in 1933 from his teaching position at the Düsseldorf Art Academy. In 1961, the acquisition of the Klee collection by the federal state of North Rhine-Westphalia, a move intended as a kind of political atonement, led to the museum’s foundation as a public institution.

    The aim of the research project “museum global?” is from a contemporary perspective a critical interrogation of our own collection and the re-illumination of its history with reference to the period from 1904 to 1950. In search of diverse voices and for other narratives of modernity exemplary artworks from non-European regions become evident and will be analyzed, along with their contexts of production, with the intention of contributing to a revision of earlier perspectives. Special attention is devoted to the continuous transformation and development of the use of language and of terms such as “international,” “global,” “universal,” “cosmopolitan,” and “worldwide,” and of “classical modernism,” “rural modernism,” “local modernism,” or “Tropical modernism” and their changing meanings. The project will culminate in autumn of 2017 in a concluding exhibition that will simultaneously present the collection from a newly-won perspective while showcasing exemplary positions and phenomena from the focus period of 1904–1950.

    A preparatory, academic conference will be held on January 21–22, 2016 at the Kunstsammlung (in German and English with simultaneous translation). This event is designed to bring together scholars who concentrate on regional phenomena and artistic and intellectual tendencies that are situated beyond, parallel, or in opposition to the so-called “modern” art scene in central Europe and North America. The introductory panel will be devoted to a revision of the modernist canon and its historiography. The main emphasis of the conference will be selected case studies that exemplify international exchanges via artists and artworks during the above-named time period.

    We are hereby issuing an invitation to potential participants to give 30 minute talks based on research related to the following aspects:

    • Questioning the narrative of modernist art history, in particular of Paris as a center of artistic activity during the first half of the 20th century;
    • attempts to open up perspectives onto contemporanean artistic phenomena worldwide;
    • examinations of hitherto little-discussed artistic practices and local art historiography worldwide;
    • considerations of local artists and artist’s groups situated beyond the art scenes of Europe and North America;
    • transcontinental artistic networks and collaborations;
    • influential intellectual tendencies, ideas, discoveries, concepts, and fashions that interconnect different regions;
    • art world protagonists and intermediators that have shaped dialogue and networks worldwide, thereby mediating between cultures and regions;
    • current theoretical positions that, aware of the results of postcolonial studies, reflect critically on concepts such as “exoticism,” “primitivism,” or “Orientalism”;
    • considerations of the relevant political, societal, and historical conditions, including specific historical examples, i.e. concerning mobility and travel of artists during the period as well as of trade routes and the circumstances of exile;
    • interdisciplinary examinations of intersections between the visual and applied arts, literature/poetry, music, theater, dance, photography, and film.

    Please submit abstracts of your contribution (300–500 words, in German or English) and a brief biography by September 27, 2015 to museumglobal@kunstsammlung.de. Travel costs for lecturers will be covered by the Kunstsammlung Nordrhein-Westfalen. Honoraria will be offered as well.

    Given the large number of thematic foci for the period, for which research efforts have barely begun in the global context, this conference attempts explicitly to stimulate exchanges between scholars. For this purpose, and on our initiative, the research interest “global modern art museum” has been set up at http://www.academia.edu, and will hopefully serve as a common platform.

    Please signal your interest in conference participation at http://goo.gl/forms/k2OmojfIpg. Starting in October of 2015, you will receive information concerning the conference program.

    This research project of the Kunstsammlung Nordrhein-Westfalen – in whose framework the conference is being organized – is sponsored by the Kulturstiftung des Bundes/German Federal Cultural Foundation.

  • Exhibition: The Power of Pictures: Early Soviet Photography, Early Soviet Film (The Jewish Museum, New York; 25 Sept 2015 - 7 Feb 2016)

    http://thejewishmuseum.org/exhibitions/the-power-of-pictures-early-soviet-photography-early-soviet-film

    From early vanguard constructivist works by Alexander Rodchenko and El Lissitzky, to the modernist images of Arkady Shaikhet and Max Penson, Soviet photographers played a pivotal role in the history of photography. Covering the period from the 1917 Bolshevik Revolution through the 1930s, this exhibition explores how early modernist photography influenced a new Soviet style while energizing and expanding the nature of the medium — and how photography, film, and poster art were later harnessed to disseminate Communist ideology. The Power of Pictures revisits this moment in history when artists acted as engines of social change and radical political engagement, so that art and politics went hand in hand.

    In a country where 70% of the population was illiterate, photographic propaganda often was more valuable than newspaper editorials. Lenin himself declared that the camera, as much as the gun, was an important weapon in “class struggle.” Recognizing that images had the power to transform society, Lenin put photography at the service of the Revolution — thereby serving as a historical demonstration of how artistic and political ambitions can coalesce and fortify one another. The Power of Pictures will illustrate that this work encompassed a much wider range of artistic styles and thematic content than previously recognized.

    The exhibition makes clear that the artists who comprised the group Oktober, led by Alexander Rodchenko and Boris Ignatovich, and the photojournalists associated with the Russian Association of Proletarian Photographers (ROPF), such as Arkady Shaikhet and Georgi Zelma, were significantly influenced by avant-garde esthetics and by film in particular. The goal of Oktober was to create images that would force the viewer to see society in a new way, whereas ROPF — which included the majority of prominent Jewish photojournalists — championed a coherent and comprehensive documentation of reality.

    In an intimate screening room within the exhibition galleries, films by major directors of the era, including the seminal Sergei Eisenstein film Battleship Potemkin, will be shown. Despite Eisenstein’s relative fame, many of these filmmakers have been overlooked or excised from the history of the medium. More than a dozen films will be screened in their entirety on daily rotations throughout the run of the exhibition.

    In addition to a stunning collection of photographic and cinematic works, The Power of Pictures features a rich array of film posters and vintage books that employ radical graphic styles with extreme color, dynamic geometric designs, and innovative collages and photomontages. Also presented are examples of periodicals in which major photographic works were published.

    Photographers:
    Boris lgnatovich
    Elizaveta lgnatovich
    Olga lgnatovich
    Yakov Khalip
    Eleazar Langman
    El Lissitzky
    Moisei Nappelbaum
    Max Penson
    Georgy Petrusov
    Alexander Rodchenko
    Arkady Shaikhet
    Georgy Zelma
    Georgy Zimin

    Filmmakers:
    Boris Barnet
    Sergei Eisenstein
    Mikhail Kalatozov
    Grigory Kozintsev
    Lev Kuleshov
    Yakov Pratazanov
    Vsevold Pudovkin
    Esfir Shub
    Victor Turin
    Dziga Vertov

  • Lecture: The Creation of a Market for Russian Art in America by Mark Konecny (Jordan Center, NYU, New York; September 18, 2015)

    http://jordanrussiacenter.org/event/discussion-mark-konecny/

    Friday, September 18, 3-5pm NYU Jordan Center for the Advanced Study of Russia 19 University Place, 2nd Floor New York, NY 10003

    The Jordan Center’s Colloquium Series serves to introduce the most recent work of scholars within the Slavic field. Participants come from universities across the country and abroad, and work in disciplines ranging from history, political science and anthropology to literature and film. In the first session of the Fall 2015 Colloquium Series on September 18, 2015, Mark Konency will join us from the Institute of Modern Russia Culture to speak on his research project “Who is Madame K. and Why is She in a Hotel in Riverside, California? The Creation of a Market for Russian Art in America.”

    By examining the fate of the lost art of the Russian Exhibition at the 1904 Louisiana Purchase Exposition in St. Louis, Missouri, known as the 1904 World’s Fair and its reception by American audiences, Konecny concentrates on the creation of an emerging market for Russian cultural offerings that occurs in the first decades of the 20th century. An examination of the Russian Exhibition is also prompted by a needed reassessment of Russian outsider art and the general reception of Russian art in the United States. Though there were works by noted artists like Repin, Roerich, and Vereshchagin, many of the participating artists were women, religious minorities, or from provincial locations: not from the Russian Academy or the avant-garde groups that dominated the perceived narrative of Russian art at the turn of the century. This project hopes to encourage an appreciation of art exchanges and enhance the understanding of how art has been used to effect social, political, and technological change in the world. As the art was gradually sold off to galleries in New York and San Francisco, a small but enthusiastic group of collectors began to concentrate on buying and promoting Russian art in America.

    Konecny is the Associate Director and Curator of the archives and library of the Institute of Modern Russian Culture, a unique collection of twentieth century books, art, and cultural artifacts. His area of expertise is the interdisciplinary study of Russian and European culture of the late nineteenth and early twentieth century. He concentrates on the varied milieu of folk and popular theater as well as cabaret and the Imperial theater of the time as it relates to performance of the pre-revolutionary and revolutionary periods within the context of the larger movement of the European avant-garde. He is currently working on a monographic study of Russian cabaret in exile and an exhibition of Russian artists who participated in the 1904 St. Louis World’s Fair.

  • Opportunities: Arp Fellowships, Stiftung Arp, Berlin (Stiftung Arp e.V., Berlin)

    Application deadline: Nov 30, 2015

    ARP-Fellowships

    Hans Arp (1886-1966) and Sophie Taeuber-Arp (1889-1943) are among the most remarkable artists of the twentieth century. They galvanized the movements of Dada and Surrealism, and influenced the development of concrete art and organic abstraction. Since 1977 the Stiftung Arp e.V. has overseen the greater part of both artists’ estates. It holds one of the most comprehensive collections of their work and manages most of their written and photographic archives. The Foundation also has an extensive research library, which holds primary literature and catalogues of the work of Sophie Taeuber-Arp and Hans Arp as well as many publications of their broader artistic and cultural context.

    In Fall 2015, the Stiftung Arp e.V. is awarding up to four research- and archive-fellowships to both junior scholars as well as to established researchers and curators whose work addresses the work of Hans Arp and Sophie Taeuber Arp.

    a) The archive and library fellowships are intended for junior scholars as well as established researchers and curators whose research project or exhibition addresses the work of Hans Arp and Sophie Taeuber and who wish to research the collection, the archive and the library in person. Depending on the scope of the research project, fellowships will be awarded for the duration of 1 to 6 months. The monthly stipend ranges from 900 to 1,200 Euros and the amount is determined by the researcher’s qualifications. Residency is required.

    b) The research fellowships are intended for junior scholars (pre- and postdoctoral), whose research engages with the work of Hans Arp and/or Sophie Taeuber-Arp. The period of support is one year, with a monthly stipend between 900 and 1,200 Euros, depending on the applicant’s qualifications. Residency is not required. However, the fellow is expected to consult the foundation’s collection and archive during the fellowship period. As a prerequisite to the application, the research project in question must be tied to a university or a research institution.

    For the application for a research or archive fellowship please submit the following materials:

    • CV
    • Publication List
    • Research Description and Plan: (3-5 pages)
    • Summary of the project (max. 500 words)

    Fellows will be selected by a committee of experts.

    Please submit applications electronically to: steinkamp@stiftungarp.de

    For further information and questions, please contact Dr. Maike Steinkamp, Stiftung Arp e.V.
    Tel.: +49 (0) 3060967426

  • CFP: Pleshkas of Russian Art /Queering Russian Art History

    Pleshkas of Russian Art/ Queering Russian Art History is an art historical research project consisting of workshops and symposia that will result in a publication to challenge the commonly-accepted heteronormative narrative of Russian art history. Pleshkas of Russian Art/Queering Russian Art History provides a platform for new scholarship on the connections between Russian art history to date and LGBTQ studies.
    In Russian gay argot, “pleshka” is a cruising ground. If Russian art history can be seen as “closeted,” where the only queer presence is clandestine, how do we transform this into a site for visibility and voice? This project conceives of Russian art history as a gay cruising ground – pleshkas of Russian art history – and suggests a need for a rigorous project of re-reading Russian art history in order to write a more inclusive narrative. This publication project grows out of Yevgeniy Fiks’ artistic intervention “Pleshkas of Russian Art” in catalogs of the Guggenheim Museum’s RUSSIA! exhibition. Fiks inserted special pages with text narrating gay Russian history between the pages of the catalogue and then placed them back on the shelves of the Guggenheim Museum gift shop in New York City.
    Art historians are invited to submit papers on any aspect of queering the history of Russian art. The organizers are especially interested in reevaluating the narratives of the historical Russian Avant-garde, Socialist Realism, as well as post-War and post-Soviet art. Papers should be 2500-5000 words in length and submitted electronically via e-mail to James Gallery email, Jamesgallery@gc.cuny.edu by October 15th, 2015.
    Pleshkas of Russian Art /Queering Russian Art History is organized by artist Yevgeniy Fiks and Katherine Carl, The Graduate Center, CUNY.

  • Lectures: Slade Lectures in Fine Art, 2015 (University of Cambridge; October 13 - December 1, 2015)

    LECTURE SERIES:
    Slade Lectures in Fine Art, 2015
    University of Cambridge, Mill Lane Lecture Rooms
    Tuesday 13th October - Tuesday, 1 December, 2015, at 5 p.m.

    Professor John E. Bowlt

    “Suddenly I forgot which comes first, 7 or 8”. Making Sense of the Russian Avant-Garde

    The dramatic experiments in Russian art of the early 20th century constitute a primary contribution to the history of Modernism. The twilight aura of Symbolism, the disruption of Cubo-Futurism and the extreme heat of Revolutionary culture generated ideas, movements and styles which undermined traditional values, crossed disciplines and established radical visual codes. The object of this cycle of lectures is to revisit these innovations and to place them in a comparative context — taking due account of concurrent philosophical doctrines, material culture, the literary and performing arts and socio-political change.

    13 October

    1. In vino veritas? My Sentimental Journey into Russian Art.

    20 October

    1. Sergei Diaghilev: “Goodness me! What do I do with 2285 portraits?”

    27 October

    1. Sweet Confections, Enchanted Nights: Léon Bakst in Wonderland.

    3 November

    1. Trance, Transgression, Transmutation: Vasilii Kandinsky and the Other.

    10 November

    1. Distorting Mirrors: Reflections on Marc Chagall, Natal’ia Goncharova, Kazimir Malevich….

    17 November

    1. Pavel Filonov and Atomic Energy.

    24 November

    1. “Write nothing! Read nothing! Say nothing! Print nothing!”. Zero and Revolution.

    1 December

    1. Isis and Ra: Stalin as Pharaoh.

    For more information, visit: http://ccrac.hoart.cam.ac.uk/upcoming-events/

  • CFP: Russian Art: Building Bridges Between East and West. In Memoriam Dmitry Sarabyanov (Bremen; November 26-27, 2015)

    Russian Art: Building Bridges Between East and West. In Memoriam Dmitry Sarabyanov

    Russian Art and Culture Group
    Third Graduate Workshop

    Department of Humanities and Social Sciences, Research IV, Campus Ring 1, Jacobs University Bremen, November 26–27, 2015

    Language: English
    Submission Deadline: October 1, 2015

    Dmitry Sarabyanov (1923–2013), long-time head of the Department of Russian Art History at Moscow State University, was among the first scholars in the USSR to reconsider the so-called “formalist” artists, who had been denounced for ideological reasons, thus marking a turn in postwar Soviet thinking about Russian art. The third graduate workshop of the Russian Art and Culture Group focuses on a key aspect of Sarabyanov’s scholarship, the artistic dialogues between Russia and its neighbors to the west and to the east. We wish to not only explore Russian modernism and the avant-garde movements but encourage papers on Russian art of prior and subsequent developments up to the present day.

    Paper topics might include:

    • Russian artists in the West and in the East
    • world art: Russia’s recognized and forgotten contributions
    • “otherness” as inspiration and source of innovation
    • Russian orientalism(s) and the formation of identity
    • artistic exchange: competitions, collaborations, interactions
    • the role of art magazines, exhibitions, and collections
    • national vs. transnational art histories

    We invite doctoral students, postgraduate researchers, and established academics to submit proposals for 30-minute presentations. Interdisciplinary approaches are very welcome. Please send an abstract of no more than 500 words, along with a short biographical note to Sebastian Borkhardt and Tanja Malycheva.

    Notifications will be sent in mid-October. Please note that travel and accommodation expenses will not be reimbursed.

  • CFP: Propose a SHERA-sponsored 2.5 hr session for CAA 2017 in New York

    Please send your proposals to shera.artarchitecture@gmail.com by September 5.

    SHERA is looking for volunteers to chair or co-chair a 2.5- hour SHERA-sponsored panel for CAA 2017 and to come up with a broadly-formulated theme that explicitly appeals to the full range of our members’ interests, both geographical and chronological. Since our resurgence 2 years ago, we have been successful in soliciting excellent proposals from our members, both for 1.5 and 2.5-hour sessions. As a reminder and an inspiration, I am sending you a list of SHERA-sponsored sessions we’ve organized so far:

    2014
    1.5-hour session: “Decentering Art of the Former East.” Co-chaired by Kristin Romberg and Masha Chlenova;

    2015
    1.5-hour session: “Infiltrating the Pedagogical Canon.” Chaired by Marie Gasper-Hulvat;
    2.5-hour double session: “Reconsidering Art and Politics: Towards New Narratives of Russian and Eastern European Art.” Chaired by Maria Taroutina and Galina Mardilovich;

    2016 1.5-hour session: “Collecting, Curating, Canonizing, Critiquing: The Institutionalization of Eastern European Art.” Chaired by Ksenia Nouril;
    2.5-hour double session: “Exploring Native Traditions in Eastern Europe, Russia, and Eurasia.” Chaired by Alison Hilton.

    We will send out calls for short sessions in April of 2016, but meanwhile we are looking forward to receiving your proposals for the 2.5-hour slot.

    Once the SHERA officers make a selection, they will write a letter of support to the CAA conference committee, so that the proposed session has a better chance of being accepted. As can seen from our record, so far this tactic has worked. If it does not, it will be possible to resubmit the proposal next year or during our short-session call in April.

  • Lecture and Film: "Russian Icons Examined: In Exhibition and On the Screen" with Nina Zaretskaya (Museum of Russian Icons, Clinton, MA; August 22, 2015)

    http://museumofrussianicons.org/en/visit/what-s-happening/events-calendar/russian-icons-exhibition-screen/?eID=22954#sthash.jAQjmyMu.dpuf](http://museumofrussianicons.org/en/visit/what-s-happening/events-calendar/russian-icons-exhibition-screen/?eID=22954#sthash.jAQjmyMu.dpuf)

    Aug 22nd 3:00 pm - 5:00 pm
    Museum of Russian Icons

    When in 2005 - 2006 the Solomon R. Guggenheim Museum presented the exhibition RUSSIA!, a retrospective of the greatest masterworks of Russian art from the 12th century to the present, filmmaker and scholar Nina Zaretskaya was invited to produce a documentary based on this extraordinary exhibition. The result was RUSSIA! The Drama of Art in Twelve Episodes, which complements video from the exhibit with expert commentary from art historians and curators, and dramatic re-enactments of select historic events adapted from Soviet and Russian films.

    Ms. Zaretskaya will show several chapters of the film that focus on Russian medieval art, and early Russian icons in particular. Her lecture will discuss how the film developed from a mere reportage of the exhibit into an in-depth narrative of Russian cultural development, revealing the soul, character, and sensibilities of the Russian people through the amazing art they have created over the centuries of their complex and difficult history.

    Nina Zaretskaya was born in Moscow and currently lives and works in New York. She graduated from the Moscow State University with a Ph.D. in Philology, and has made a career as a documentary producer, TV journalist, video maker, show host and media art curator. She is founder and director of Art Media Center “TV Gallery,” a Moscow institution highly praised for its contribution to the appearance and development of video and new media art in Russia.