New Narratives of Russian and East European Art

Between Traditions and Revolutions
Herausgeber: Mardilovich, Galina; Taroutina, Maria

• Broschiertes Buch

Produktbeschreibung

This book brings together thirteen scholars to introduce the newest and most cutting-edge methodologies in the field of Russian and East European art history.

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Produktdetails

• Studies in Art Historiography
• Verlag: Taylor & Francis Ltd
• Seitenzahl: 256
• Erscheinungstermin: 14. Juni 2022
• Englisch
• Abmessung: 245mm x 173mm x 24mm
• Gewicht: 470g
• ISBN-13: 9781032337845
• ISBN-10: 1032337842
• Artikelnr.: 64223723

Autorenporträt

Galina Mardilovich is Curator of Russian and European Art at the Mead Art Museum at Amherst College, USA. Maria Taroutina is Assistant Professor of Art History at Yale-NUS College, Singapore.

Inhaltsangabe

Introduction [Maria Taroutina and Galina Mardilovich];
PART I: Mobile Margins: Artists, Artworks, and Instituions;
Chapter One. Blood, Skin, and Paint: Karl Briullov in 1832: Allison Leigh;
Chapter Two: Iaroslavna's Lament and its Echoes in Late Nineteenth-Century
Russian Art: Alison Hilton;
Chapter Three: An Exercise in Close Looking: Ilia Repin's They Did Not
Expect Him: Galina Mardilovich;
Chapter Four: "Is disagreement among artists a good thing?": The End of
Salon-Type Exhibitions in Russia and Western Europe: Andrey Shabanov;
Chapter Five: Blurring Boundaries: Mikhail Vrubel's Decorative Turn and the
Rise of Russian Modernism: Maria Taroutina;
Chapter Six: Idiosyncrasy as an Alternative Modernist Narrative: Steven
Mansbach
PART II: Visualizing Ideology: New systems, Cold War Aesthetics, and
Post-Socialist Memory;
Chapter Seven: Art in the Age of Binary Inversion: Russian Constructivist
Graphic Design and the Interwar Grid: Kristin Romberg;
Chapter Eight: The Creative Mistakes of Socialist Realism: Maria Mileeva;
Chapter Nine: A Socialist Neo-Avant-Garde? The Case of Postwar Yugoslavia:
Nikolas Drosos;
Chapter Ten: The Troubled Public Sphere: Understanding the Art Scene in
Socialist Hungary: Katalin Cseh-Varga;
Chapter Eleven: The Nonidentity Problem in Contemporary Belarusian Art:
Tatsiana Zhurauliova;
Chapter Twelve: Marking Memories, Mediating Histories in the Work of
Deimantas Narkevicius: Ksenia Nouril;
Chapter Thirteen: History in the Future Tense: On Recent Installations by
Igor Makarevich and Elena Elagina: Jane A. Sharp