CHAGALL. LOVE AND LIFE
16/03/2015 — 26/07/2015
Arrives in Rome at the Cloister of Bramante an exhibition dedicated to the Russian painter MARC CHAGALL, from 16 March to 26 July 2015, produced and organized by Dart - Cloister of Bramante and Arthemisia Group.
More than 150 works - including paintings, drawings and prints - from the Israel Museum in Jerusalem tell the unique bond between the great painter and his wife Bella Rosenfeld, fundamental and constant source of inspiration, linking the life of Chagall directly in its work.
From the images of his childhood and youth in his native Vitebsk, to the illustrations for his autobiography “My Life” and the books written by Bella First Encounter and Burning Lights, the show runs through the life of Chagall through a treasure iconography and iconology returning in all his art to the more mature works.
The exhibition CHAGALL. LOVE AND LIFE curated by Ronit Sorek narrates the image that the artist wanted to convey to the world of himself in front of the subject of the Holocaust: Jewish culture affects how deeply and indelibly his art as well as the spiritual meaning and poetic universal Bible and religion.
Russian Cosmism with Stephen Van Trees and Boris Groys
Thursday, March 26, 2015, 7:30pm
311 E Broadway, New York, NY 10002
The talks will also be broadcast live at http://www.ustream.tv/channel/e-flux.
As the closing event for of Specters of Communism: Contemporary Russian Art, e-flux is pleased to host a lecture by translator and FAA aeronautics engineer Stephen Van Trees, followed by a conversation with the curator of Specters of Communism, Boris Groys.
Nikolai Fedorov (1828 or ’29–1903) was a remarkable Russian neo-Christian thinker who developed a metaphysical materialist philosophy in the years preceding the 1917 Russian Revolution. His eccentric form of radical humanism remains little known in the West, though he is absolutely key to understanding of Russia’s succeeding philosophical, creative, and engineering endeavors.
Fedorov envisioned a world brought together in one harmonious whole, as a family. The point of the reestablishment of the family was the resuscitation of each preceding generation by the generation that succeeded it, culminating in the resurrecting of all the dead who ever lived. He envisioned universal education and universal conscription, such that the world was united in the common task, such that nature, now the slave of blind forces, became the object of man’s conscious direction. Fedorov had quite specific proposals on agriculture, weather management, and space flight. His vision of the museum was both a reconstruction of the past and a vision of the future.
He also had a great love for the village and native Russian social constructs. He contrasted this to the city, which he viewed as a fallen enterprise.
Fedorov’s shining example of Christianity is the one-day church; a church built by collective effort for a quite specific goal. His main theological contribution is the concept of the conditionality of the Last Judgment. He believed that the Last Judgment was not inevitable—that man could work and consciously form the world to avoid the Apocalypse.
In the last year of his life, Fedorov wrote the larger portion of his preserved work. In 1902, a year before his death, he burned a part of his manuscripts. However, his friend N.P. Peterson secretly took the remaining part of his manuscript to Ashkhabad, and after Fedorov died, Kozhevnikov and Peterson set to preparation of his testament for publication. In 1906, the first volume of Philosophy of the Common Task was issued. However, the assimilation of the philosophical heritage of Fedorov actually began only after the publication of the first generally accessible publication (Moscow, “Mysl” 1982), and his teaching has yet to find the place it deserves in the development of human thought.
Stephen Van Trees’s talk, based on a new complete translation of the two-volume edition of Philosophy of the Common Task, will introduce Fedorov’s life and important themes in his thought, and discuss the contemporaries he influenced as well as the Cosmists—the later followers who continued his work.
Stephen Van Trees translated the complete text of the first two volumes of Philosophy of the Common Task from 2007–2009. Van Trees holds an AB and MA in Slavic Languages and Literatures from UC Berkeley (1975, 1978). He wrote his undergraduate thesis (“The Eschatological Climate in Dostoevsky”) for Czeslaw Milosz, whom he worked for as a graduate student. He has translated Fedorov and Lev Shestov (all previously untranslated work) from the Russian. He translated Milosz and Julian Rejewski’s memoirs (the true story of the Polish conquest of the Enigma machine) from the Polish. Recently he completed the translation of Saraskina’s Life of Solzhenitsyn for Solzhenitsyn’s family.
Boris Groys is Professor of Aesthetics, Art History, and Media Theory at the Center for Art and Media Karlsruhe and Global Distinguished Professor at New York University. He is the author of many books, including The Total Art of Stalinism, Ilya Kabakov: The Man Who Flew into Space from His Apartment, Art Power, The Communist Postscript, and, most recently, Going Public.
All events in 245 East Pyne
For a detailed schedule & more information, see http://seeeps.princeton.edu.
11am-12:30pm / Panel 1: Seeing Readership
Yelizaveta Raykhlina (Georgetown University) - The Expanded Readership of Two Early 19th-century Russian Periodicals
Colleen Lucey (University of Wisconsin-Madison) - The Portrayal of Prostitutes and Courtesans in Russian 19th-century Periodicals
Karla Huebner (Wright State University) - Gentleman: An Interwar Czech Consumer Magazine
Discussant / Jindřich Toman (University of Michigan)
1:30-2:30pm / Panel 2: Mediations of Russian Modernism
Jon Stone (Franklin & Marshall College) - Between Little Magazine and Thick Journal: Approaches to Russian Modernist Periodicals
Sarah Krive (University of North Carolina at Greensboro) - Periodic(al) Parody: Akhmatova’s Fate in the Post-Revolutionary Press
Discussant / Olga Peters Hasty (Princeton University)
2:45-4:15pm / Panel 3: Regional Circulation, Global Exchange
Meghan Forbes (University of Michigan) - ReD, Pásmo and Disk: The Interwar Czech Periodical as Platform for International Exchange
Ksenia Nouril (Rutgers University) - Production-Reproduction: Modernist Photography and its Circulation through the Lens of the Thomas Walther Collection
Alex Moshkin (University of Pennsylvania) - Israeli-Russian Periodicals 1995-2015: Networks, Aesthetics and Ideologies
Discussant / Katherine Hill Reischl (Princeton University)
4:30pm Keynote Lecture:
Nicholas Sawicki (Lehigh University) - Avant-Garde Fissures in the Modern Czech Art Press: Traces in the Printed and the Digital
The event is sponsored by the following departments and centers at Princeton: the Center for Digital Humanities, the Library, the Department of Slavic Languages and Literatures, the Program in Russian and Eurasian Studies, and Interdisciplinary Doctoral Program in the Humanities (IHUM).
Mead Art Museum, Amherst College
On view are recently acquired prints by nonconformist Russian artists Grisha Bruskin, Vladimir Yankilevsky, Alexander Kosolapov, and Boris Orlov. The works date from the last years of the USSR, which collapsed in 1991. By that time the artists, whose work was suppressed in the official Soviet art world, had immigrated to Western countries where they continued to work in their unique styles. This small selection now on view is part of a generous gift of 60 works made by the Traisman Russian Art Foundation in late 2014.
GRAD’s new exhibition ‘Borderlands’ seeks to challenge the line often drawn today between art and social comment, between aesthetics and activism. From a brick sculpture that recalls the recently redrawn map of the Ukraine to footage of young Moscovites filmed on a mobile phone, the display presents the work of contemporary Russian and Ukranian artists. We have invited artists working in different media to explore whether art made today in their countries can be both politically engaged and have aesthetic value of its own. Zhanna Kadyrova (Kiev) and ZIP collective (Krasnodar) will build their installations on site, while Nikita Shokhov (Moscow) and Evgeny Granilshchikov (Moscow) will present their photo and video works.
Maria Curies-Sklodowska University, Lublin, Poland
May 13 - 16, 2015
FOR THE COMPLETE PRELIMINARY PROGRAM SEE FULL POST
Maria Curies-Sklodowska University, Lublin, Poland
May 13 - 16, 2015
FOR THE COMPLETE PRELIMINARY PROGRAM SEE FULL POST
Deadline for submissions: April 15th, 2015
The Association of Print Scholars invites applications for the first annual Schulman and Bullard Article Prize. The Prize is given annually to an article published by an early-career scholar that features compelling and innovative research on prints or printmaking. The award, which carries a $2,000 prize, is generously sponsored by Susan Schulman and Carolyn Bullard. Following the mission of the Association of Print Scholars, articles can feature aspects of printmaking across any geographic region and all chronological periods. Articles will be evaluated by a panel of advanced scholars for the author’s commitment to the use of original research and the article’s overall contribution to the field of print scholarship.
The Association of Print Scholars invites nominations and self-nominations for the 2015 Schulman/Bullard Article Prize meeting the criteria outlined below:
- Authors must have graduated with an MA, MFA, or PhD fewer than 10 years prior to article publication.
- Authors must be current members of APS.
- Articles must have been published in a journal, exhibition catalogue, or anthology between January 1, 2014 and December 31, 2014. Online publications will be considered on a case-by-case basis.
- Articles must be between 3,000 and 10,000 words, inclusive of footnotes and references.
- Entries for consideration must be in English, though the text of the original article may be in any language.
To submit an article for consideration, please send the completed nomination form along with an electronic or hard copy of the article to Angela Campbell, APS Grants Coordinator.
The Ukrainian Museum (http://www.ukrainianmuseum.org/) is seeking an energetic museum professional with innovative ideas and excellent team- building skills.
- Assists the Director to carry out the daily operation of The UM. This includes, but may not be limited to, setting of operational goals and procedures, establishing priorities, designing work flow, evaluating work, preparation of budgets, collection development and management, implementation of exhibitions, programs and publications, public relations.
- Reports to and acts under the authority and supervision of the Director.
- Helps with staffing, personnel and administration policies, staff training and supervision.
- Attends Board of Trustees meetings and Executive Board meetings along with (or in lieu of) the Director.
- Assists the Director in the preparation and submission of annual and/or other reports as required by the Board of Trustees.
- Works with the Director in developing The Museum’s short- and long- range plans, policies and procedures.
- Responsible for maintaining communication with all professional museum organizations, i.e. AAM, CAA and others.
- A graduate degree from an accredited institution of higher learning in a subject area relevant to the collections and programs at The UM. (i. e. Museum Studies, Ukrainian Studies, Art History, Anthropology, Ethnography) or relevant combination of education and experience.
- Professional experience, including at least three years of administrative experience in museum management and service, including exhibition development and management, fundraising and grant - writing.
- Ability to plan, budget, supervise and solve “people’s problems” at work.
- Knowledge of current museum developments, trends, standards, technology and current literature on museology.
- Strong planning and organizational skills, excellent written and oral communication skills, outstanding interpersonal skills and an energetic can-do attitude are essential. Candidates must have proficiency in MS Office suite. Proficiency in other museum – related computer programs a plus.
- In addition to fluency (speaking and writing) in both English and Ukrainian, working knowledge of at least one of the following languages: Russian, German or French is desirable.
Salary: Commensurate with experience
Send letter of interest and CV by April 15, 2015 to: UMpersonnel@gmail.com
Paper proposals deadline: April 20, 2015. Midnight, EDT
SECAC membership required within 10 days of acceptance
Submit abstracts, maximum of 200 words, via the Paper Proposal Form on SECAC’s website https://secac.memberclicks.net/index.php?option=com_mc&view=mc&mcid=form_187575
The flâneur has usually been envisioned through Baudelaire’s “Painter of Modern Life”, with Guys and Manet as key figures, he was considered a 19th-century Parisian walker, an observer, an idler. In the 20th century, the flâneurr has also been a key figure in surrealism. In recent years, however, scholars have questioned whether the flâneur must be male, a dandy, French, solitary, or even ambulatory. As yet, there has been little exploration of flâneurie in European cities east of Paris and Berlin; this study is in its infancy. For this panel, we would like to explore ways in which artists in cities such as Prague, Budapest, Bucharest, Krakow, St. Petersburg, Belgrade, Sofia, and Vilna may have acted as flâneurs or made art about the practice of walking the city. As a counterpoint, we would also be interested in papers that consider the existence of flâneurial practice/sensibilities in Pittsburgh, the home of so many Eastern European immigrants, was it possible to be a working-class flâneur there, or did mere survival devour one’s energies? Were other residents describable as flâneurs? Could the irascible antebellum Pittsburgh painter David Gilmour Blythe, for example, be considered a flâneur? We invite your imaginative and scholarly proposals.
Session chairs: Kristen Harkness, West Virginia University, and Karla Huebner, Wright State University.