The Great Utopia: The Russian and Soviet Avant-Garde, 1915-1932
| Book | The Great Utopia: The Russian and Soviet Avant-Garde, 1915-1932 |
| Format | Soft cover |
| Language | English |
| Copyright | 1992 |
| Printed by | Toppan Printing Company |
| Publisher | The Solomon R. Guggenheim Foundation |
| Preface by | Thomas Krens, Michael Govan, Vladimir Gusev, Evgeniia Petrova, Iurii Korolev, Jurgen Weber |
| Contributing Writer | Paul Wood, Василий Иванович Ракитин, Jane A. Sharp, Aleksandra Shatskikh, Christina Lodder, Hubertus Gassner, Irina Lebedeva, Charlotte Douglas, Vivian Endicott Barnett, Svetlana Dzhafarova, Margarita Tupitsyn, Susan Compton, Nina Lobanov-Rostovsky, Евгений Фёдорович Ковтун, Natal'ia Adaskina, Александр Николаевич Лаврентьев, Анатолий Анатольевич Стригалёв, Catherine Cooke |
| Copyright Holder | The Solomon R. Guggenheim Foundation, State Tret'iakov Gallery, State Russian Museum, St. Petersburg, Ministry of Culture of the Russian Federation |
| Cover Art by | Kazimir Malevich |
| Format | Soft cover |
| Language | English |
| Location | United States |
| Copyright | 1992 |
| Pages / Font | 732 pages |
| ISBN 10 | 0-89207-096-X |
| Chapters | Preface 1, x
Preface 2, xiii
Preface 3, xiv
1. The Politics of the Avant-Garde, 1
2. The Artisan and the Prophet: Marginal Notes on Two Artistic Careers, 25
3. The Critical Reception of the 0.10 Exhibition: Malevich and Benua, 38
4. Unovis: Epicenter of a New World, 53
Color Plates 1-318
5. A Brief History of Obmokhu, 257
6. The Transition to Constructivism, 266
7. The Place of Vkhutemas in the Russian Avant-Garde, 282
8. What Is Linearism?, 294
9. The Constructivists: Modernism on the Way to Modernization, 298
10. The Third Path to Non-Objectivity, 320
Color Plates 319-482
11. The Poetry of Science:Projectionism and Electroorganism, 441
12. Terms of Transition: The First Discussional Exhibition and the Society of Easel Painters, 450
13. The Russian Presence in the 1924 Venice Biennial, 466
14. The Creation of the Museum of Painterly Culture, 474
15. Fragmentation versus Totality: The Politics of (De)framing, 482
Color Plates 483-733
16. The Art of the Soviet Book, 1922-32, 609
17. Soviet Porcelain of the 1920's: Propaganda Tool, 622
18. Russian Fabric Design, 1928-32, 634
19. How Meierkhol'd Never Worked with Tatlin, and What Happened as a Result, 649
20. Nonarchitects in Architecture, 665
21. Mediating Creativity and Politics: Sixty Years of Architectural Competitions in Russia, 680
Index of Artists and Works, 716 Preface 1, x
Preface 2, xiii
Preface 3, xiv
1. The Politics of the Avant-Garde, 1
2. The Artisan and the Prophet: Marginal Notes on Two Artistic Careers, 25
3. The Critical Reception of the 0.10 Exhibition: Malevich and Benua, 38
4. Unovis: Epicenter of a New World, 53
Color Plates 1-318
5. A Brief History of Obmokhu, 257
6. The Transition to Constructivism, 266
7. The Place of Vkhutemas in the Russian Avant-Garde, 282
8. What Is Linearism?, 294
9. The Constructivists: Modernism on the Way to Modernization, 298
10. The Third Path to Non-Objectivity, 320
Color Plates 319-482
11. The Poetry of Science:Projectionism and Electroorganism, 441
12. Terms of Transition: The First Discussional Exhibition and the Society of Easel Painters, 450
13. The Russian Presence in the 1924 Venice Biennial, 466
14. The Creation of the Museum of Painterly Culture, 474
15. Fragmentation versus Totality: The Politics of (De)framing, 482
Color Plates 483-733
16. The Art of the Soviet Book, 1922-32, 609
17. Soviet Porcelain of the 1920's: Propaganda Tool, 622
18. Russian Fabric Design, 1928-32, 634
19. How Meierkhol'd Never Worked with Tatlin, and What Happened as a Result, 649
20. Nonarchitects in Architecture, 665
21. Mediating Creativity and Politics: Sixty Years of Architectural Competitions in Russia, 680
Index of Artists and Works, 716 Show all ▾ |
| Notes | Cover image: Malevich's 'Red Square (Painterly Realism: Peasant Woman in Two Dimensions)', 1915, State Russian Museum, St. Petersburg, Russia Published to accompany a special collections exhibit of the same name first held at the State Tret'iakov Gallery in Moscow and the State Russian Museum in St. Petersburg, then temporarily installed consecutively at Schirn Kunsthalle in Frankfurt, the Stedelijk Museum in Amsterdam, and the Guggenheim in New York City. |