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My Moscow
Igor Moukhin (born 1961) works as an independent photographer since 1989. He started his career covering underground musicians' life in the Soviet Russia. This work developed into a more vast research of the Soviet and Post-Soviet space. His work has appeared in numerous Russian and international publications and have been exhibited at museums, festivals and galleries worldwide. Igor is reputed one of the most important contemporary Russian photographers. He is based in Moscow and besides continuing his practice as a photographer, he lectures at Rodchenko School of Photography. Using his individual and familiar style Moukhin reconstructs and explores reality of post-soviet society in his native city Moscow. The images expose public and private life of various strata of citizens, different kinds of political, public or artistic groups and subcultures. This way, the book covers the great epoch of changes and course of life of numerous generations of Moscovites that were faced with this twenty-five years period of changes and hope. The book also contains a very personal interview by Irina Meglinskaya with Igor Moukhin and an essay by the famous Russian modern writer Zakhar Prilepin.
Disrupted Borders
Disrupted Borders reflects 'otherness', and attempts to escape from the European rhetoric of modernism. It endorses the plurality of art-making practices and proposes a 'new internationalism'. It explores the cultural challenges offered by 'the others' of western culture: immigrants, women, the so-called underclass, the sexually 'queer' and the disabled.
Art After Appropriation
Beginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subj...
The Original Copy
"Published in conjunction with the exhibition The original copy: photography of sculpture, 1839 to today, at the Museum of Modern Art, New York (August 1-November 1, 2010)"--T.p. verso.
History of Photography
The fourth volume in a history of photography, this is a bibliography of books on the subject.
Art Journal
None
Beyond Memory
Photography possesses a powerful ability to bear witness, aid remembrance, shape, and even alter recollection. In Beyond Memory: Soviet Nonconformist Photography and Photo-Related Works of Art, the general editor, Diane Neumaier, and twenty-three contributors offer a rigorous examination of the medium's role in late Soviet unofficial art. Focusing on the period between the mid-1950s and the late 1980s, they explore artists' unusually inventive and resourceful uses of photography within a highly developed Soviet dissident culture. During this time, lack of high-quality photographic materials, complimented by tremendous creative impulses, prompted artists to explore experimental photo-processe...
Modern Contemporary
In a lively panorama of stimulating juxtapositions, sequences, and cross references, this new edition of Modern Contemporary provides a cornucopia of 590 works of key contemporary art (37 more than in the original edition).
Crisis and the Everyday in Postsocialist Moscow
In this ethnography of postsocialist Moscow in the late 1990s, Olga Shevchenko draws on interviews with a cross-section of Muscovites to describe how people made sense of the acute uncertainties of everyday life, and the new identities and competencies that emerged in response to these challenges. Ranging from consumption to daily rhetoric, and from urban geography to health care, this study illuminates the relationship between crisis and normality and adds a new dimension to the debates about postsocialist culture and politics.
Moscow
The history of photography, more than of the city, is traced through 34 monochrome works by photographers who lived and worked in Moscow from the 1920s to the present. These photographs are from the collection of the Cultural Center Dom, Moscow, and were exhibited at Columbia University April through June 2003. An essay, interview, and biographies are included.
