SHERA is pleased to announce the recent publications of member and Vice President, Eva Forgacs:
“On Terminology” Umeni, (Prague) 2016/1
“Deconstructing Constructivism in Post-Communist Hungary. László Rajk and the Na-Ne Gallery”, in David Ayers and Benedikt Hjartarson, eds., Utopia. The Avant-Garde, Modernism and (Im)Possible Life, Berlin/Boston, DeGruyters, 2015
“The Bauhaus has No Place”,”Das Bauhaus hat keinen Ort”, in Bauhaus News, Stimmen zur Gegenwart, Spector Books, Berlin, Dessau, Weimar, Bauhaus Kooperation, 2015
Be sure to check out these interesting titles!
Celebrating Print magazine is a new resource for printmaking and fine art print in Central and Eastern Europe. It is a biannual magazine, published in print, focusing on modern and contemporary print and practice of printmaking in the context of contemporary art. Contributions from art historians, curators, and printmaking educators include surveys of trends in printmaking in individual countries, with profiles of artists and reviews of their works through scholarly articles, interviews and project presentations.
The magazine will be presented at the CAA 2016 Book & Trade Fair (table #533). Website: http://www.celebratingprint.com/.
Art Periodical Culture in Late Imperial Russia (1898-1917). Print Modernism in Transition offers a detailed exploration of the major Modernist art periodicals in late imperial Russia, the World of Art (Mir Iskusstva, 1899-1904), The Golden Fleece (Zolotoe runo, 1906-1909) and Apollo (Apollon, 1909-1917). By exploring the role of art reproduction in the nineteenth century and the emergence of these innovative art journals in the turn of the century, Hanna Chuchvaha proves that these Modernist periodicals advanced the Russian graphic arts and reinforced the development of reproduction technologies and the art of printing. Offering a detailed examination of the “inaugural” issues, which included editorial positions expressed in words and images, Hanna Chuchvaha analyses the periodicals’ ideologies and explores journals as art objects appearing in their unique socio-historical context in imperial Russia.
THE PEREDVIZHNIKI: Between a Commercial Partnership and an Art Movement
The Russian text of this book is a translation of the PhD thesis entitled Re-Presenting the Peredvizhniki: a Partnership of Artists in Late Nineteenth-Century Imperial Russia, which the author carried out at the Courtauld Institute of Art between 2008 and 2013. The late nineteenth-century group of Moscow and St Petersburg artists, who organised travelling exhibitions around the Russian provinces, came to be known as the Peredvizhniki (or in English, quite misleadingly, as the ‘Wanderers’). Before the end of the century the Peredvizhniki gained a reputation as an altruistically motivated and critically minded Realist art movement. This reputation eventually became cemented in Soviet-era art history and is still dominant today in both Russian and Western scholarly accounts. Focusing on the period between the group’s foundation in 1870 and the publication of their twenty-fifth anniversary album in 1897, this monograph proposes a counter-argument, which centres on the analysis of the following: the specific manner in which the Peredvizhniki initially constituted themselves as a partnership; how they chose to represent themselves and their exhibitions to the public; and, finally, the specific character of the partnership’s shows and how these were critically perceived. This book therefore constitutes the first attempt to recover the Peredvizhniki’s original identity and aims, and, in the process, to question the established art-historical narratives of the group and its development.
EUSP Press 2015; ISBN 978-5-94380-199-0; 336 p.; paperback
Special Issue of the Journal Russian Literature, 2017
Guest Editors: Klavdia Smola, Mark Lipovetsky
Over its history Russia’s political system has created and fostered a culture of (non)conformity. Since the 1960s, one can observe a rapidly growing sphere of cultural underground. Its institutions and practices are studied as well as those within official culture of the period. Less explored is the sphere situated in-between the official and non-official cultures as well as transitions between them. This stratification became established in the late Soviet period and continues to “do its job” today. During its development it has passed through several periods of transformation, undergone important modifications, and experienced a lengthy interruption in the 1990s.
This special issue of Russian Literature will look at shifts in Russian culture along the continuum from conformity to non-conformity between the 1960s and the present day. Our focus is to analyse the structures and mechanisms of culture divided between the spheres of official/non-official/ and semi-official. The relevance of this approach is especially obvious in current political situation in Russia, when the growing ideological homogenisation of the public sphere and the resulting practices of (semi)tabooisation are today once again breaking the Russian intellectual domain up into the these three realms. Comparison between these spheres in late Soviet period and today are especially significant for our project. Papers may tackle either the trajectory of cultural assimilation or of dissent, as well as oscillations between these spheres. Attempts to place the phenomenon of (non)conformity in the context of cultural development and change since the late Soviet era to today’s split between conformist and countercultural practices are particularly welcome.
The editors of this issue would like to encourage submissions in the fields of Russian cultural studies, literary studies, history of art, theatre and film studies, and book and publishing research. Interdisciplinary work straddling the boundary between cultural studies and social and political science is likewise warmly encouraged. Papers addressing the topic from within a single discipline are however equally welcome.
Topics of interest include (but are not limited to):
The cultural public sphere and its transformation from Khrushchev to Putin
Borders between the official and non-conformists: literature, art, theatre
Protest art and action art in the face of prohibition
Cultural practices and mechanisms of conformity/non-conformity in arts
Between conformity and non-conformity: spaces of cultural autonomy
Epideictics and panegyrics vs. subversion and satire
Conformity and non-conformity in the (human) sciences
Books and publishing (conformist and non-conformist)
Museums and exhibitions (conformist and non-conformist)
The cultural public sphere and cultural policy (awards and funding)
Censorship: strategies, impacts and transformations/development during the period under consideration
The Aesopian language of culture: smuggling the forbidden into the public domain
Submissions must be in English. Interested parties are asked to submit details of their proposed topic in an abstract (max. 2,000 characters), by email to firstname.lastname@example.org and email@example.com by 30 September at the latest. After approval of abstracts, the deadline for articles will be 10 January, 2016.
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.
For information from the publisher, see here.
The Malevich Society and Tate Publishing present an important and authoritative English translation of the two-volume book of Irina Vakar and Tatiana Mikhienko’s massive 2 volume work Малевич о себе, Современники о Малевиче: Письма, Документы, Воспоминания, Критика, (Malevich about Himself, Contemporaries about Malevich: Letters, Documents, Memoirs, and Criticism), which was published in Russian in Moscow in 2004 by “RA” (Russian Avant-garde) publishers.
These two volumes (1264 pages) are a compilation and scholarly investigation of all primary sources for the life and work of the abstract artist Kazimir Malevich, including the artist’s autobiographies, more than 270 of his letters to various correspondents, archival documents, memoirs of contemporaries (his relatives, disciples, and friends; his associates and opponents in art – artists and officials), as well as critical responses to his work. Many of these documents are published for the first time.
The books are illustrated with over 400 photographs, mostly rare, portraying Kazimir Malevich, his family, friends, and colleagues.
The volumes are the product of more than ten years of work of two renowned Russian scholars, Irina Vakar and Tatiana Mikhienko, who have thoroughly annotated the material. Overall, the books give a comprehensive and objective picture of the artist’s personal and creative life, and illuminate the problem of the relationship between the artist’s private life and his creative work. The breadth of the collected materials and their thorough and unbiased analysis in the scholarly commentaries make this publication indispensable for all future research on Kazimir Malevich, and a basic resource for studies of modern art generally.
Translation: Antonina Bouis
English Editor: Wendy Salmond
General Editor of English Edition: Charlotte Douglas
Deadline: May 1, 2015
In September 2015 Tate Modern will present the exhibition The World Goes Pop, a ground-breaking reassessment of pop art. By mapping the pop phenomenon from a global perspective - encompassing pop art produced in the 1960s and 1970s in Eastern Europe, Latin America, Asia and the Middle East, as well as Western Europe and the US - the exhibition will seek to challenge historiographic narratives that affirm the hegemonic position of New York art and will explore pop beyond the mainstream.
The often ambivalent and subversive nature of these global manifestations of pop is of particular importance. Reacting to the growing dominance of the American post-war economy and media around the world, pop art sometimes took the form of a destabilising reversal of the normative messages associated with American mass culture and consumerism. This approach was effectively and memorably put to use by feminists, political groups and independence movements in order to simultaneously critique the hegemony of the West while drawing on its aesthetic mass appeal and graphic clarity. By surveying these global engagements with pop, the exhibition will offer an opportunity to re-examine pop’s origins and politics, as well as question its existence and significance as a global movement.
To accompany this exhibition, Tate Papers aims to publish a range of scholarly articles addressing pop as a truly global phenomenon. Questions and issues that may be addressed in the papers include:
- How did national traditions and differing social and political contexts inform local manifestations of pop art? How did these manifestations cohere and/or differ from one another? Case studies may include (but are not limited to) Brazil, Argentina, Mexico, Mali, Nigeria, France, Spain, Germany, Belgium, Czech Republic, Poland, the former Yugoslavia, Slovenia, Russia, Iran, China and Japan.
- How did pop art reinforce or undermine conceptions of gender in these different contexts?
- Was pop art an international language and if so what were its defining traits?
- How could pop art aestheticise commodity culture and yet be a tool for political opposition? How could these two conditions co-exist in different settings and to what extent did they influence or impair each other?
- How can we define the reciprocal influence between pop art and manufacturing and technology, news media, and mass communications?
- What was the relationship of pop art to performance and film?
Tate Papers is an online, peer-reviewed research journal that publishes scholarly articles on subjects that reflect Tate’s collection, exhibition programme and activities as an art museum.
If you are interested in submitting an article, please contact the Managing Editor, Christopher Griffin, at firstname.lastname@example.org.
Please note that articles should be c.4,000–8,000 words in length and written in English. Articles accepted for publication following peer review will be published in the autumn issue of Tate Papers in 2015.
Further information about the journal and the submission process can be found here.
Call for Submissions for a Special Issue of Digital Icons
Guest edited by Mikhail Suslov, Maria Engström and Gregory Simons (Uppsala University, Sweden)
Announcing the publication of a special issue of Digital Icons: Studies in Russian, Eurasian and Central European New Media (DI), which aims to explore the relationship between new media and religion, focusing on the Russian Orthodox Church (Moscow Patriarchy).