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Isaac Levitan
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Shishkin
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The Russia Reader
An introduction to the history, culture, and politics of the worlds largest country, from the earliest written accounts of the Russian people to today.
What Is to Be Done?
Addressing a century of change from late nineteenth-century realism to late 1970s Sots Art, this volume presents new research on how art making, criticism, and promotion responded dynamically to the fast-moving social, cultural, and political contexts of the Russian Empire and Soviet Union. Case studies of artists reveal how figures such as Viktor Vasnetsov and Kazimir Malevich [Kazymyr Malevych] incorporated contemporary debates into their artworks and expanded their visual expressiveness. Analyses of writings by Wassily Kandinsky and Nikolai Punin illustrate the central role played by critics, theorists, and artists' societies in catalyzing new approaches. Lastly, essays focusing on the So...
Rethinking Malevich
The Russian artist Kazimir Malevich was one of the great figures of twentieth-century art, and a pioneer of abstraction, whose painting The Black Square of 1915 has become an icon of modernism. Yet he is a creative figure about whom much still remains to be elucidated. Soviet scholarship ignored him for decades, and Western scholars were inevitably only able to work with the limited visual and documentary material that was available to them. It was only after the fall of Communism in 1991 that access to such material became easier. This book represents the fruits of the research that has been conducted since then by a range of Russian and Western scholars who have been able to shed vital new light on the artist's life, his training, his art, his career, his relationships with other artists and movements, and his theories.
Ivan Shishkin
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Universal – International – Global
This collection of articles explores a possible alternative beginning of Global Art History and World Art Studies, two methodologies that set a worldwide focus in the study of art around the 2000s. Teaching back to earlier efforts to conceive of the international community in a less Eurocentric way, the volume proposes a tentative link between socialist internationalism as a political and cultural diplomatic principle in the Soviet Block and some new approaches to art and cultural historiography introduced there. In the "Second World", universal art history or Weltkunstgeschichte were endorsed as frameworks for the teaching and writing of art history. Authors in this book interrogate whether "world art history" as practiced by socialist scholars had aspirations and achievements comparable to today's Global Art History and World Art Studies. Or was this knowledge production in an internationalist paradigm a mere foil for communist rhetoric, behind which severed cultural relations to the Western world could also be recommenced?
