News tagged:

New York

  • Exhibition: Suprematism Infinity: Reflections, Interpretations, Explorations (Harriman Institute, Columbia University, New York; December 1, 2015 - January 22, 2016)

    Harriman Institute Atrium | 420 West 118th Street, 12th Floor
    Opening Reception: Thursday, December 10, 6:00 – 8:00 pm
    7:00 pm - talk by Irina Nakhova; video by Irina Nakhova will be shown at the opening event

  • CFP: 2016 NESEEES Conference (NYU Jordan Center, New York; April 2, 2016)



    Submit a proposal for an individual paper or for a complete panel for the 37th annual Conference of the Northeast Slavic, East European, and Eurasian Studies (NESEEES, a regional affiliate of ASEEES). The Conference will be held on Saturday, April 2, 2016 at the NYU Jordan Center for the Advanced Study of Russia.

    NYU Jordan Center for the Advanced Study of Russia
    19 University Place, 2nd floor
    New York, NY 10003
    Phone 212.992.6575

    Yanni Kotsonis, Director of the Jordan Center, will be the President of the 2016 Conference.

    Scholarly papers and panels are welcome on any aspect of Slavic, East European, and Eurasian Studies. Complete panels will receive preference over individual paper submissions. Proposals must include the following:

    1. Title and a one-paragraph abstract
    2. Any requests for technical support (very important!)
    3. Presenter’s email and surface mail addresses
    4. Presenter’s institutional affiliation and professional status (professor, graduate student, etc.)
    5. The name and contact information for the panel organizer, where applicable.

    Undergraduate students under the guidance of a faculty mentor may present a paper at the Conference if the faculty mentor submits the information listed above.
    Please send your proposals via electronic format to not later than December 31, 2015. (Note that this is a new email address, and not the one used last year.)

    Professionals in the field are strongly urged to volunteer to serve as chairs and/or discussants. Much of the benefit of the Conference depends on active participation and informed commentary by participants. Graduate students are encouraged to participate. Two juried awards of $200 for first prize and $150 for second prize are made annually for the best graduate papers presented at the NESEEES Conference judged according to the following criteria:

    · clarity of main research question outlining the scholar’s approach to the topic

    · importance of the research to the profession

    · amount of support for the argument

    · use of primary sources

    · adequate and interesting content

    · readiness for publication: use of English, readability and style

    Following the Conference, graduate students may submit revised papers to the competition for review. Visual materials accompanying the presentation at the Conference should be submitted along with the written text for evaluation. The first prize paper will be entered in the national ASEEES competition.

  • Exhibition opening: 1990. THE LAST NOVEMBER (Harriman Institute, Columbia University, New York; October 20, 2015)

    Tuesday, October 20, 2015
    Harriman Institute Atrium (12th Floor, 420 West 118th Street)
    Please join the Harriman Institute for the exhibit opening and reception with remarks by the artists, Natasha and Valery Cherkashin.

    The exhibit features unique black and white hand manipulated photographs by the artists Natasha and Valery Cherkashin. The exhibit will commemorate the “Last November” –the final official celebration of the October Socialist Revolution to take place on Red Square. That day, a huge portrait of Lenin unfurled outside of the GUM [State Department Store] for the last time. People from all over the Soviet Union came to Moscow, walked in Red Square, and took photos in front of Lenin’s Tomb. The exhibit will feature images from the Cherkashins’ series, “Art for the People,” which capture portraits of the bronze sculptures of Soviet heroes and workers from the 1930s in Moscow’s Revolutionary Square metro station.

    Both of these series were originally exhibited in the Santa Fe Museum of Fine Arts in 1994, under the title “4+4 Late Modern: Photography Between the Mediums,” along with an installation called “Moscow’s Red Square in Santa FE.” After the Santa Fe exhibition, the Cherkashins did not have a place to store the works. They were stored by the couple’s friends Claire Shipman (a Columbia University and Harriman alumna) and Jay Carney, who moved from one place to another, taking the works with them for nearly twenty years. The Cherkashins haven’t seen these works since and are excited to exhibit them at the Harriman Institute.

    An interview conducted with the artists on the occasion of the exhibition by SHERA member Natasha Kurchanova can be found here.

  • Exhibition: The Lost World of Subcarpathian Rus’: The Lens of Rudolf HŮLKA (1887-1961) (Harriman Institute, Columbia University, New York; September 16 - October 15, 2015)

    Harriman Institute Atrium (12th floor, International Affairs Building)

    Long regarded as one of the premier repositories of the Slavic, Russian and Eastern Europe print culture, the Czech National Library (The Národní Knihovna or, popularly, the Klementinum) and its Slavonic holdings contain many unique and unpublished collections. Numbered among these treasures are the recently discovered color slides, photographic prints and glass plate negatives (dating principally from the early 1920s) of Rudolf Hůlka (1887-1961), a Czech economic official by profession, as well as an artist, humanitarian, and eminent man of culture.

    Robert H. Scott, Digital Humanities Librarian, Columbia University Libraries, Curator, with the assistance of Edward Kasinec and Filip Tuček, Harriman Institute. The Curators gratefully acknowledge the assistance of The National Library of the Czech Republic and the staff of its Slavonic Library, most especially Lukáš Babka and Hana Opleštilová.

    Co-sponsored by the Harriman Institute and the East Central European Center.

  • Exhibition: Transmissions: Art in Eastern Europe and Latin America, 1960–1980 (Museum of Modern Art, New York; September 5, 2015–January 3, 2016)

    Transmissions: Art in Eastern Europe and Latin America, 1960–1980 focuses on parallels and connections among artists active in Latin America and Eastern Europe in the 1960s and 1970s. During these decades, which flanked the widespread student protests of 1968, artists working in distinct political and economic contexts, from Prague to Buenos Aires, developed cross-cultural networks to circulate their artworks and ideas. Whether created out of a desire to transcend the borders established after World War II or in response to local forms of state and military repression, these networks functioned largely independently of traditional institutional and market forces. Drawn from The Museum of Modern Art’s collection, Transmissions brings together landmark works by Eastern European artists including Geta Brặtescu, Tomislav Gotovac, Ion Grigorescu, Sanja Iveković, Dóra Maurer, and the anti-art collectives Gorgona, OHO, Aktual, and Fluxus East, as well as Latin American artists such as Beatriz González, Antonio Dias, Lea Lublin, and Ana Mendieta. Particular attention is paid to the group of Argentine artists clustered around the influential Instituto Torcuato Di Tella, including Oscar Bony, David Lamelas, and Marta Minujín, who confronted the aesthetic and political implications of mass media communication—including film, television, and the telex—during a vibrant, experimental period of technological innovation and political tension. The featured artists circumvented the political status quo through unorthodox and ephemeral art forms. By utilizing or referring to mass media and communication technologies, many of these artists explored novel ways of bringing art into daily life to reach a wider public and to influence society. Featuring series of works and major installations, several of which are on view for the first time, Transmissions highlights multiple points of contact, often initiated and sustained through collective actions and personal exchanges between artists. Many of the recent acquisitions in the exhibition were the result of research initiated through C-MAP (Contemporary and Modern Art Perspectives), MoMA’s cross-departmental initiative aimed at expanding curatorial expertise in a global context. Challenging established art-historical narratives in the West and frameworks dictated by the Cold War, the works included suggest counter-geographies, alternative models of solidarity, and correspondences linking art practices in different parts of the world.

  • Member News: Ksenia Nouril in conversation with artist Yevgeniy Fiks (New York; October 4, 2015)

    Member News: Ksenia Nouril in conversation with artist Yevgeniy Fiks (New York; October 4, 2015)

    In conjunction with the exhibition Really, Socialism?!, SHERA member Ksenia Nouril will be speaking with the Russian-American artist Yevgeniy Fiks on Sunday, October 4th from 2:00-3:30pm at Momenta Art (56 Bogart Street, Brooklyn, NY 11206). More details on this and other related programming can be found on the exhibition’s website.

  • Exhibition: Really, Socialism?! (Momenta Art, New York; September 11 – November 9, 2015)

    Really, Socialism?!
    September 11 – November 9, 2015

    Curated by David Xu Borgonjon
    Exhibition artists: Yevgeniy Fiks, Jing Yuan Huang, Jen Liu, Lisi Raskin, Anna Rubin
    Program participants: Yuchen Chang, Eda Cufer, Christine I. Ho, Ksenia Nouril, Arseny Zhilyaev

    Opening reception: Friday, September 11, 7-9PM!.html

    Momenta Art is pleased to present Really, Socialism?!, an exhibition that examines the past of the socialist image in order to speculate on the future. Through the work of artists intimately involved in the aesthetic legacies of socialism, this exhibition seeks to stimulate viewers into a reappraisal of post-war art and its relevance for strategies of exit from the world-as-market.

    Yevgeniy Fiks’ Pleshkas of the Revolution record, in Soviet academic style, Moscow cityscapes dotted with socialist emblems that were also gay cruising grounds. Huang Jing Yuan’s photorealist gray monochromes reflect on the televisual mediation of the Chinese Communist revolution and the crisis of faith after liberalization. The new abstract drawings and sculptural paintings of Lisi Raskin derive from her experience of the ex-Yugoslav Partisan monuments, focusing on the concealment and commemoration of history. A series of conversations with leading critics—respectively, Ksenia Nouril, Christine I. Ho and Eda Cufer—contextualizes these artists’ works within the latest art-historical research.

    These contemporary reflections on the trajectory of post-war painting are complemented by a series of screenings and performances. Jen Liu’s video The Red Detachment will examine forms of bodily discipline by tracing the connections between the meat industry and the seminal Maoist ballet of the same name. Anna Rubin will present a rough cut of footage recording her relationship with a Leipzig teenager for whom cosplay serves as a means of reflecting on German history. In the closing event, Arseny Zhilyaev and Chang Yuchen will conclude with performative lectures on art institutions under socialism, respectively, experimental museology and technical life-drawing.

    Really, Socialism?! intends to spotlight the diversity of official artistic practices in state socialism: not just Soviet Socialist Realism, but also its Maoist apostate Revolutionary Romanticism and the abstract modernism that flourished in former Yugoslavia, among others. Programs include an online reading group on socialist science fiction in collaboration with the New Centre for Research and Practice, focusing on an optimism about technology that seems almost alien today. This exhibition will be complemented by the launch of an online archive that translates, collates and introduces seminal tracts on socialist aesthetics.

    Details of public events, including dates, times and locations, will be posted on

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

    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.


    A review of the exhibition by SHERA member Natasha Kurchanova can be found here.

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

    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.

  • 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, 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.