art

35 articles tagged with art were found.

Becoming tools for artistic consciousness of the people

In the present article, the main principles of the reforms in Revolutionary Russia in the sphere of art are analyzed through the example of the reorganization of the Higher Artistic School of the Imperial Academy of Arts of St. Petersburg into the Free Art Studios (Svomas). The studios were to become a tool for the transformation of the surrounding reality and for the development of the artistic consciousness of the people. The intended result of those transformations was the complete spiritual and material harmonization of society, while the perfection of artistic interpretation was to be replaced with the perfection of social living. The research presented here is based on the archival materials and is one of the very first publications on the problems associated with the reform of artistic education in the first post-revolutionary years.

By Mikhail Evsevyev November 10, 2017

Revolution. Russian Art 1917–1932

In the much visited and favorably reviewed exhibition “Revolution. Russian Art 1917—1932” held at the Royal Academy of Arts in February through April 2017, a large number of works was displayed, borrowed from art museums all over Russia and other countries, as well as from private collections.

By Helene Carlbäck November 7, 2017

Georgia: A much-repaired society

Georgian capital and several buildings that were important parts of the cultural heritage have been demolished in recent years. Repairing is both cross-cultural and culturally relative; it has similarities across the world and differences based on tradition and affordances. In this sense, the specificity of repair is not that it happens but rather that it highlights the values attached and its aesthetics and moral implications.

Essay by Francisco Martínez October 25, 2016

Art as the venue for politics. The image of Rossiya 2

Lena Jonson, Art and Protest in Putin’s Russia. London and New York: Routledge 2015, 399 pages.

By Kristian Gerner June 23, 2016

Why were there no great Pop art curatorial projects in Eastern Europe in the 1960s?

Whatever might be said of pop art techniques and art-historical discourses used in Hungary, and later in Estonia, (and less frequently in other countries), one would be hard-pressed to say that the 1960s was an era of pop in the region, especially one with North American influences. Why then?

By Piotr Piotrowski November 19, 2015

Art and Ownership in Eastern European Art History

When it comes to art museums in post-Soviet Eastern Europe, ownership is an especially loaded issue that continues to bring out new skeletons from its closeted past. Ludwig’s gigantic art collection, consisting of some 50,000 artworks, came into being because of his goal of inscribing himself into the future of art history.

By Margaret Tali October 20, 2014

Bakhtin as Praxis. Academic Production, Political Activism, and Artistic Practice

The purpose of the conference was to establish new points of contact between the actively developing traditional Bakhtin studies (in literature, language, and cultural theory), on the one hand, and those new directions in research that have discovered the importance of Bakhtin’s ideas in new applications in the humanities, social sciences, education, artistic research, and art practices.

By Irina Sandomirskaja October 9, 2014

Feast in a time of plague the May Day celebrations of 1917–1918

For the celebrations of the First of May, 1917, all the buildings on the Palace Square, including the Winter Palace, were decorated for the first time with white drapes with red edgings and revolutionary slogans. Under the Bolsheviks, avant-garde artists assumed the right to develop art for the newly formed communist state, and the commission to decorate Petrograd for May Day 1918, was awarded to futurists.

Essay by Natalia Murray May 14, 2013

Exhibition in Moscow Soviet Design 1950–1980

Soviet Design 1950–1980 was shown for two busy winter months and enjoyed great public success. Even if Soviet design was often — but far from always — based on originals borrowed from the West, the individual objects exude a personal charm, variation, and quirkiness that makes them well worth preserving, exhibiting, and discussing.

By Margareta Tillberg May 13, 2013

The Tallinn Tapestry

In the City Museum of Tallinn there is a woven tapestry in two parts, from 1547. The tapestry has belonged to the city ever since it was made, in the Flanders (Enghien), on direct order from the wealthy city.

By Bo G. Hellers January 22, 2013