2024
“Not Russian and not Avant-Garde: When Existing Art Historical Terminology Fails”
CAA, 2024
"The “Russian” Avant-Garde in a Time of War" Roundtable
Graduate Student and Early Career Scholar Travel Grant
The Graduate Student and Early Career Scholar Travel Grant provides up to $1,000 toward travel and registration expenses for the ASEEES Annual Convention or the CAA Annual Convention. Eligible candidates are graduate students and early career scholars and curators. “Early career” is defined as those who have been awarded the Ph.D. within the previous five years. Applications will be evaluated based on the merit of the paper, with preference given to applicants without other sources of institutional support. Applicants need not be SHERA members at the time of application, but recipients are required to join SHERA in order to accept the grant. The Travel Grant is made possible by a generous donation from an anonymous donor.
Deadline: July 1 (ASEEES), October 15 (CAA)
2024
“Defying Fascism: The Surrealist Art of Toyen and Tita in Nazi-Occupied Prague and Paris.”
CAA, 2024
"The Wars of Women Artists, 1937–1947" panel.
2023
“Architectural History and the Search for the Sogdian Origins in the Soviet Period”
ASEEES, 2023
2022
“Cultural Translations through Print: Gproteatr Institute’s International Entanglements in the 1960s-80s”
ASEEES, 2022
2022
“Competing Ideas about the Romanian Identity: National Monuments and New Church Buildings in Interwar Transylvania”
ASEEES, 2022
2020
“From Turtle Island to Vistula’s Shores: Indigenous and Slavic Futurisms in Dialogue”
CAA, 2020
2019
“Late Soviet Studio Ceramics as a Site of Institutional Critique”
ASEEES, 2019
2019
“Picturing Cathay in Russia: Political use of Chinoiserie interiors under Empress Elisabeth Petrovna and Emperor Peter III”
CAA, 2019
2018
“Contested Spaces: Radical Potential in the Post-Soviet Art Gallery”
ASEEES, 2018
In the early 1990s, Russian art galleries simulated commercial activities, mimicking Western institutional models. The paper will demonstrate how artists managed to subvert this system developing critical projects devoid of commercial potential. Following the tradition of communal practices of Soviet unofficial art and exploiting the very form of a gallery, artists introduced performative elements into the system of representation. Wild capitalism of the early 90s left many people marginalized, and artists discovered ways to shift the perspective and to reintroduce aspects of everyday reality into cultural life.
2017
“Participation and Collectivity in Art of the Soviet and post-Soviet Belarus, Moldova, and Ukraine since the 1970s”
CAA, 2017