News

  • ANN: Maya Semina Travel Grant

    ANN: Maya Semina Travel Grant

    A generous donation made in the name of Maya Semina will help defray travel costs for one graduate student presenting a paper at the CAA Annual Conference and the ASEEES Annual Convention. The grant will be given for five consecutive years, alternating between the CAA conferences and the ASEEES conventions, beginning with the upcoming CAA conference on February 15-18, 2017 in New York City. The alternating order of the subsequent grants will be as follows: ASEEES 2018, CAA 2019, ASEEES 2020, CAA 2021. The funds for the grant have been received for 2017 and 2018, and the funds have been promised for 2019-2021. Maya Semina is a Russian art historian, whose book about Filipp Maliavin was published by Moscow’s BooksMArt Press in 2014. Applications will be evaluated based on the academic merit of the paper topic and financial need. We are especially committed to subsidizing a graduate student who is attending the conference for the first time or who has no local institutional resources for travel support.

    GRANT AMOUNT: Up to $1000 USD

    ELIGIBILITY:

    All applicants must be:

    1. A student working at either the master’s or doctoral level with a thesis or dissertation topic related to Eastern European, Eurasian and/or Russian art and/or Architecture;

    2. Presenting a paper contributing to advancement in this field at a panel at a CAA Annual Conference (chairs, discussants, and any other type of participants are not eligible to apply) or ASEEES Annual Convention;

    3. A member of SHERA at the time of application;

    4. Live outside the conference city;

    5. Have not been recipients of this grant in the past.

    DEADLINE: January 1, 2017 (Notifications will be sent by January 15, 2017)

    APPLICATIONS:

    All applicants must email the following to to SHERA.grants@gmail.com.

    • Complete application form (this has been sent to all SHERA members), which includes contact information, the e-mail address of the recommender; paper title, abstract, tentative budget, and statement of need;

    • Two-page CV, listening relevant grants, publications, and talks;

    • One (1) letter of reference from advisor or department chair, which includes confirmation that departmental and/or institutional conference travel funds are insufficient, sent by the recommender to SHERA.grants@gmail.com.

    We urge applicants to be practical in estimating their travel and lodging budget. We advise sharing a room with another graduate student at the conference hotel, if feasible. We ask the grantee mention the SHERA Maya Semina Travel Grant as a partial sponsor of their participation.

    GRANT DISBURSEMENT:

    The grant will be disbursed upon presentation of receipts in the weeks following the conference.

    Sincerely,
    SHERA Board

  • ANN: 6th Winter School of the Graduate School of Culture Studies and Arts-Tallinn University

    ANN: 6th Winter School of the Graduate School of Culture Studies and Arts
    New Natures, Entangled Cultures: Perspectives in Environmental Humanities
    Tallinn University
    23 – 27 January 2017

    For more information see the Winter School website

    How do we imagine nature/culture? How do new environments emerge and how do we design them – deliberately or by chance? The 6th Winter School of the Estonian Graduate School of Culture Studies and Arts focuses on the notions of “nature” and “culture” as entangled phenomena. Environmental humanities make an effort to overcome the centuries old division between sciences and humanities by stressing that speaking about “nature” and the hybrid forms of naturecultures is of central importance for all disciplines within the humanities.

    We invite doctoral and MA students to think beyond the comfortable binaries of nature and culture and to discuss topics like recycling and hybridity, (eco)nationalism and aesthetics, technology and landscape, corporeality and posthumanism, materiality and animality in order to understand the creative power of “nature” as a cultural metaphor and the intimate interconnectedness between environment and culture.

    The programme of the Winter School consists of: 1) interdisciplinary lectures and discussions conducted by Estonian and guest lecturers; 2) student seminars and slams where graduate participants present and discuss their own research; 3) student workshops outside the customary classroom environment.

    Plenary speakers: Dr. Harriet Hawkins (Royal Holloway, University of London)
    Dr. Dolly Jørgensen (Luleå University of Technology)
    Dr. Timothy LeCain (Montana State University)
    Dr. Jamie Lorimer (University of Oxford)
    Prof. Gregg Mitman (University of Wisconsin – Madison / Rachel Carson Center for Environment and Society)
    Prof. David Moon (University of York)
    Prof. Kate Rigby (Bath Spa University)
    Dr. Bronislaw Szerszynski (Lancaster University)

    Hosting institutions:
    School of Humanities, Tallinn University
    Estonian Centre for Environmental History, Tallinn University

    Programme directors:
    Prof. Ulrike Plath (Tallinn University / Estonian Academy of Sciences)
    Prof. Marek Tamm (Tallinn University)

    Programme manager:
    Doris Feldmann (Tallinn University)

    Student coordinator:
    Tiiu-Triinu Tamm (Tallinn University)

  • Exhibition: A Revolutionary Impulse: The Rise of the Russian Avant-Garde at MoMA

    Exhibition: A Revolutionary Impulse: The Rise of the Russian Avant-Garde at MoMA

    Exhibition: A Revolutionary Impulse: The Rise of the Russian Avant-Garde at MoMA

    On December 3, 2016, the exhibition “A Revolutionary Impulse: The Rise of the Russian Avant-Garde” opened at The Museum of Modern Art, New York; it will be on view until 12 March 2017. The exhibition traces the arc of the pioneering Russian avant-garde from its earliest flowering in 1912 to the moment of the Stalinist decree in 1934. Bringing together almost 300 breakthrough objects across mediums from MoMA’s extraordinary collection, the exhibition, planned in anticipation of the centennial of the Russian Revolution, probes the myriad ways that an object can be revolutionary.

    The exhibition will be complemented by a public program “The Russian Avant-Garde: Scholars Respond” on February 8, 2017 from 6-8pm. Admission is free but a reservation is required.

  • ANN: John Bowlt has received this year's Award for Distinguished Contributions to Slavic, East European, and Eurasian Studies from ASEEES

    ANN:  John Bowlt has received this year's Award for Distinguished Contributions to Slavic, East European, and Eurasian Studies from ASEEES

    SHERA’s Board is pleased to announce that John Bowlt has received this year’s Award for Distinguished Contributions to Slavic, East European, and Eurasian Studies from ASEEES, the Association for Slavic, East European & Eurasian Studies. His recognition testifies to the increasing importance of the study of art and visual culture within the larger field of Slavic Studies. We congratulate Professor Bowlt on his remarkable achievement, and thank him for his foundational work in our field.

    Below is the official citation from ASEEES:

    2016 Distinguished Contributions Award Recipient John Bowlt
    The 2016 Distinguished Contributions to Slavic, East European, and Eurasian Studies Award, which honors senior scholars who have helped to build and develop the field through scholarship, training, and service to the profession, is presented to John E. Bowlt, Professor of Slavic Languages and Literatures and Director of the Institute of Modern Russian Culture at the University of Southern California.

    The contributions of John E. Bowlt to the study of Russian visual culture of the 20th century are exceptionally deep and multi-faceted. Starting from the late 1960s, when much of the material he has spent his career studying was taboo in the USSR, Professor Bowlt has worked sedulously to uncover, make available, and analyze the oeuvres of once almost forgotten (and now world-renowned) artists such as Kazimir Malevich, Pavel Filonov, Liubov Popova, and Varvara Stepanova as well as a host of lesser lights. He has curated exhibitions, translated and published collections of documents, written monographs, and given countless public lectures that have brought the seminal contributions of Russian modernist art and artists to the attention of specialists in the fields of art history and Russian culture as well as a broad general public. Indeed, it would be fair to say that without the efforts of Professor Bowlt, Russian avant-garde art would not have anywhere near the level of international recognition that it now possesses.

    Professor Bowlt’s first book, The Russian Avant-Garde: Theory and Criticism 1902-1934, was published in 1976. In the forty years since, he has followed that foundational anthology with a steady stream of monographs, book chapters, exhibition catalogues, and translations. Among his most influential contributions are Pavel Filonov: A Hero and His Fate: Writings on Revolution and Art 1914-1940 (1984, with Nicoletta Misler); Moscow and St. Petersburg 1900-1920; Art, Life and Culture of the Russian Silver Age (2008), the latter written for a non-specialist audience. He was also the editor of the Art and Architecture section for the Cambridge Encyclopedia of Russia and the Former Soviet Union (1994). Perhaps even more influential have been the exhibitions he has curated (and their accompanying catalogues) including the path-breaking “Amazons of the Russian Avant-Garde” (with Matthew Drutt and Zelfira Tregulova, for the Guggenheim) and “A Feast of Wonders. Sergei Diaghilev and the Ballets Russes” (for the Nouveau Musée de Monte Carlo and the Tretiakov Gallery). All of Professor Bowlt’s publications are based on scrupulous and painstaking archival work. However, unlike many scholars who make a career in the archives, Professor Bowlt has the ability in his lectures and publications to transcend the myriad facts he has uncovered and create compelling visual and narrative presentations that enthrall and inspire both scholars and the general public.

    Professor Bowlt has been a faculty member at both the University of Texas and the University of Southern California and in 2015 was elected Slade Professor of Fine Art at Cambridge University. Professor Bowlt willingly engages in collaborative projects and his publications and exhibitions are often co-curated with younger scholars and scholars from Russia. One of Professor Bowlt’s innovative collaborative projects is the Institute of Modern Russian Culture and its journal Experiment, which has made available a broad range of primary documents on a wide range of topics drawn from 19th and 20th century Russian culture and cultural history.

    For his tireless work in creating and promoting the field of Russian modernist visual culture, John Bowlt has been selected as the recipient of the 2016 ASEEES Distinguished Contributions to Slavic, East European, and Eurasian Studies Award.

  • ANN: Large run of "Soviet Union" Magazine available from Productive Arts (Aleksandr Zhitomirsky - Head Designer)

    ANN: Large run of

    ANN: Large run of “Soviet Union” Magazine available from Productive Arts (Aleksandr Zhitomirsky - Head Designer)

    Soviet Union is the last of the extravagant photo journals of the Soviet era. The editors made clear that Soviet Union, which commenced with its March 1950 issue, was “in place of the magazine USSR in Construction”, which ceased its publication in December 1949.

    Soviet Union was published monthly in a full-scale format. The photomontage artist, Aleksandr Zhitomirsky, whose retrospective exhibition is now on display at the Art Institute of Chicago, was the head designer for the journal. (Wolf, E., Aleksandr Zhitomirsky, 2016, pp. 65-67) Early issues of Soviet Union included the work of well-known Soviet photographers of the pre-war era such as Alpert, Zelma, Shaikhet, Olga Ignatovich and Shagin, eventually giving way to the next generation… all in early Cold War style.

    Soviet Union was disseminated in no less than 14 languages versus the 5 languages in which USSR in Construction was distributed. Yet, copies of Soviet Union can be more elusive than those of USSR in Construction.

    Through the 1950s, Soviet Union was printed in its larger size approximating that of USSR in Construction. After this, the format for the magazine became smaller, then glossy and eventually kitschy, until it ceased publication in 1990.

    Offered here is a large run of Soviet Union from the first issue though the mid-1960s. For more information see the Productive Arts website

  • ANN: New publication by Éva Forgács, Hungarian Art: Confrontation and Revival in the Modern Movement

    ANN: New publication by Éva Forgács, Hungarian Art: Confrontation and Revival in the Modern Movement

    SHERA is pleased to announce a forthcoming publication by Vice-President & President-Elect Éva Forgács, “Hungarian Art: Confrontation and Revival in the Modern Movement”

    A collection of insightful essays, monographic texts and rarely seen images tracing from birth to maturation several generations of Hungarian Modernism.

    “Leading modernist scholar Éva Forgács corrects long-standing misconceptions about Hungarian art while examining the work and social milieu of dozens of important Hungarian artists, including such figures as László Moholy-Nagy and Lajos Kassák, to paint a fascinating image of 20th century Budapest as a microcosm of the social and political turmoil raging across Europe between the late 19th century and the collapse of the Soviet Era.”

    The book is currently available for pre-order from DoppelHouse Press

  • Exhibition: Thoughts Isolated: The Foksal Gallery Archives, 1966-2016

    Exhibition: Thoughts Isolated: The Foksal Gallery Archives, 1966-2016

    Opening Reception
    Fri, Nov 18, 6:00 pm – 8:00 pm | The James Gallery
    Please join us in the James Gallery for the opening reception of “Thoughts Isolated: The Foksal Gallery Archives, 1966-2016”
    Friday, November 18th from 6 to 8pm

    Founded by artists and critics in 1966 in Warsaw, Poland, the Foksal Gallery has thrived through transitions in the realms of government, the economy, and the art world. Today, at a time when New York City’s artist-run spaces are encountering serious threats to survival, the case of Foksal Gallery becomes ever more relevant. How does Foksal Gallery illuminate new ways of building a sustained art community and legacy? The archives tell the story of the gallery as a model of an arts space run as a collaboration between artists and critics and engaged consistently in critical reflexive dialogue about its purpose/mission and meaning.

    The exhibition opens on the occasion of Foksal Gallery’s 50th anniversary featuring the Foksal Gallery Archive’s unique set of resources of original papers, photographs, printed matter and artworks collected since the gallery’s founding. The exhibition includes early exhibition catalogues, invitations, posters and flyers, often designed by the artists themselves. Original material such as maquettes and designs for exhibitions are also to be found, as well as a large amount of photographic documentation of performances, installations and social gatherings at the gallery as well as sound and moving image recordings of early happenings and events.

    Curators: Katherine Carl, Katarzyna Krysiak, David Senior.

    Cooperation: Bartek Remisko and Martyna Stołpiec. With special thanks to Anna Ficek and Jennifer Wilkinson.

    Organizers: James Gallery, the Graduate Center, CUNY and Foksal Gallery, Mazaovia Institute of Culture, Warsaw.

    The exhibition was made possible by the Ministry of Culture and National Heritage of the Republic of Poland; the support of the Polish Cultural Institute-New York; and the patronage of the Adam Mickiewicz Institute/Culture.pl; and Anka Ptaszkowska.

    Additional support from The Consulate General of the Republic of Poland in New York; The Kosciuszko Foundation; The Polish Institute of Arts & Sciences of America, Inc.; Artists Alliance Inc.; Artists Space; CEC ArtsLink; EFA Project Space; Franklin Furnace; NURTUREart Non-Profit, Inc.; Residency Unlimited.

    The exhibition will be open November 19th through December 17th, 2016

  • Exhibition: A Vibrant Field: Nature and Landscape in Soviet Nonconformist Art, 1970s-1980s

    Exhibition: A Vibrant Field: Nature and Landscape in Soviet Nonconformist Art, 1970s-1980s
    Mar 04, 2017 - Jul 31, 2017
    Zimmerli Art Museum
    Dodge Gallery (Lower Level)
    New Brunswick, NJ

    A Vibrant Field: Nature and Landscape in Soviet Nonconformist Art, 1960s-1980s is the first exhibition at the Zimmerli Art Museum to explore the wide range of meanings that the natural world held for unofficial artists in the Soviet Union. Drawn from the strengths of the Dodge Collection, the exhibition brings together works produced in the period between thaw and perestroika that challenged the link between nature, optimism, and progress, which socialist realist aesthetics had promoted. Approximately fifty objects across media are featured, including painting, sculpture, works on paper, photography, and performance, by more than twenty-five artists and artist groups from the Soviet republics of Estonia, Latvia, Lithuania, Russia, and Ukraine. Despite the artists’ diverse backgrounds and creative approaches, together their works establish nature as a vibrant subject matter, push the boundaries of landscape as a genre, and limit the appropriation of landscape imagery in the name of socialist ideology. In turn, the status of nature in late socialism, and one’s individual or collective place within it, is explored as an open–and vital–question.

    A Vibrant Field assembles varied perspectives, vantage points, and orientations that underlie how one experiences nature, both in the physical sense of navigating nature as a real environment and in the conceptual sense of coming to know, describe, represent, or assign it with symbolic value. The exhibition is mapped along three principle zones of inquiry. The first, Visions, draws together work that takes to task the process of visualizing spaces in nature in order to elucidate, reimagine, or critique how humans relate to or inhabit them. In this section, particular attention is paid to works that highlight ecological concerns resulting from the exploitation of natural resources and rapid pursuit of industrialization in the Soviet Union. In Reflections, artists place less emphasis on the material landscapes in nature than on how they become a picture and the role of artistic convention, memory, and ideology in mediating this process. Finally, Encounters considers the emergence of land art and performance-based practices in nature in the 1970s and 1980s that provided a freer alternative to urban communality, ritual, and public space in the Soviet Union. Through their direct encounters with the land, artists in this section approach nature not only as a subject matter or a backdrop to their work, but in some cases as an actor or co-producer.

    Organized by Anna Rogulina, a Dodge-Lawrence Fellow at the Zimmerli and Ph.D. student in the Department of Art History at Rutgers, and SHERA member

    This exhibition is made possible by the Avenir Foundation Endowment Fund.

  • ANN: Alison Hilton elected to membership in Polish Association of Art Historians

    ANN: SHERA Member Alison Hilton was elected to membership in the Polish Association of Art Historians (Stowarzyszenie Historykow Sztuki) in spring of 2016.

    In September 2016, she gave a lecture at the National Museum in Szczecin on “Borderlands and Conceptual Boundaries - Poland and Beyond.”

    Congratulations Alison!

  • ANN: New Member Publication: Austrian and Ukrainian Literature and Art

    SHERA is pleased to announce the latest publication from member Vera Faber, together with Dmytro Horbachov and Johann Sonnleitner, eds.:

    Austrian and Ukrainian Literature and Art. Contacts and Contexts in Modernism and Avant-garde

    Description:
    This collection of articles focuses on the mutual interrelations, interactions, analogies and divergences in the visual arts, literature and society in Viennese and Ukrainian modernism and avant-garde. Although the cultural relations between Austria and Ukraine after 1918 became increasingly sparse, the examination and description of the affinities and contrasts appears to be instructive. Moreover, the volume contains illustrations and images of the Ukrainian avant-garde in literature and the visual arts, as well as futurist and constructivist stage design.

    Editors: Vera Faber (Wien) holds an MA in Slavonic Studies and an MDES in Design. She is a PhD candidate in Slavonic Studies (University of Vienna) and a lecturer for cultural studies and art history.
    Dmytro Horbachov (Kyiv) works as an art historian and curator with focus on avant-garde and is a professor emeritus of the University of theatre, Film and TV in Kyiv, Ukraine.
    Johann Sonnleitner (Wien) is professor for Modern German and Austrian literature at the institute of German Studies at the University of Vienna, Austria.

    https://www.peterlang.com/view/9783653059359/9783653059359.00003.xml?rskey=m9NdWo&result=1

    More information in German:

    Faber, Vera / Horbachov, Dmytro / Sonnleitner, Johann (Hrsg.): Österreichische und ukrainische Literatur und Kunst. Kontakte und Kontexte in Moderne und Avantgarde

    Frankfurt am Main, Berlin, Bern, Bruxelles, New York, Oxford, Wien, 2016. 276 S., 32 farb. Abb., 12 s/w Abb.
    Wechselwirkungen. Österreichische Literatur im Internationalen Kontext. Bd. 20
    General Editors: Norbert Bachleitner, Leopold Decloedt, Wynfrid Kriegleder und Stefan Simonek

    Über das Buch
    Der Band widmet sich den Wechselbeziehungen, Wechselwirkungen, aber auch Analogien und auffälligen Divergenzen zwischen Kunst, Literatur und Wissenschaft im Wien der Jahrhundertwende sowie in der ukrainischen Moderne und Avantgarde. Die kulturellen Beziehungen zwischen der Ukraine und Österreich werden gerade nach 1918 immer spärlicher, dennoch scheint es lehrreich, die Affinitäten und Kontraste zwischen den zunehmend auseinanderdriftenden kulturellen Räumen zu beschreiben und zu beobachten. Der Band macht zudem viele beeindruckende ukrainische Forschungsleistungen erstmals in deutscher Sprache zugänglich. Überdies enthält er umfangreiches Bildmaterial zur ukrainischen literarischen und bildkünstlerischen Avantgarde sowie zum futuristischen und konstruktivistischen Bühnenbild.
Die in diesem Band versammelten Beiträge wurden zum Großteil bei der von Vera Faber gemeinsam mit dem Österreichischen Kulturforum Kiew sowie der Österreich-Bibliothek Kiew konzipierten Tagung „Wiener Moderne / Ukrainische Avantgarde”, die vom 20. bis 21. November 2014 an der Vernads’kyj-Nationalbibliothek der Ukraine sowie an der Österreich-Bibliothek Kiew stattgefunden hat, als Vorträge gehalten.

    Inhalt
– Vera Faber/Dmytro Horbachov/Johann Sonnleitner: Wiener Moderne und ukrainische Avantgarde 
– Jakub Forst-Battaglia: «Der farbenvolle Untergang» - Geistige und gesellschaftliche Strömungen in der Habsburgermonarchie zur Jahrhundertwende 
– Vera Faber: Konzept und Wirklichkeit - Frauen in der Wiener Moderne und in der ukrainischen Avantgarde 
– Gerhard Donhauser: Von Galizien nach Wien. Biographische Skizzen aus den «wilden Jahren» der Psychoanalyse 
– Anja Lange: Von Wien nach Lemberg - die Bedeutung des Kaffeehauses für die Lemberger «Moloda Muza»
– Tamara Hundorova: Die «Femme Fatale» und die Spuren der Wiener Moderne im Werk ukrainischer Autoren von der Jahrhundertwende bis Ende der 1920er Jahre
– Stefan Simonek: Mychajlo Draj-Chmara als Übersetzer Stefan Zweigs
– Ivan Megela: Die Rezeption der Wiener Moderne in der Ukraine 
– Johann Sonnleitner: Weibliche Avantgarde in Österreich nach 1918. Zu Maria Lazar und ihrem Umfeld 
– Elina Knorpp: «Eine Ohrfeige dem öffentlichen Geschmack» - Expressionismus, Futurismus, Konstruktivismus auf den Bühnen in Wien, Kiew und Charkiw 
– Olena Balun: Das Volksbild «Kosak Mamaj» in den Werken der ukrainischen Avantgarde als Beispiel für Identitätskonstruktionen der europäischen Moderne 
– Nelli Kornijenko: Les’ Kurbas - Wien - und weiter… 
– Iryna Meleškina: Die Sammlung dеr ukrainischen szenographischen Avantgarde im Fonds des Nationalen Museums für Theater, Musik und Kino der Ukraine.

    Herausgeber
    Vera Faber (Wien) hat Slawistik und Design in Wien studiert und ist Lehrbeauftragte für Kunst- und Kulturwissenschaft.
    Dmytro Horbachov (Kiew) ist Kunsthistoriker und Kurator sowie emer. Professor an der Universität für Theater, Kino und Television in Kiew.
    Johann Sonnleitner (Wien) ist Germanist und Romanist sowie Professor an der Universität Wien.

    https://www.peterlang.com/view/9783653059359/9783653059359.00003.xml?rskey=m9NdWo&result=1