Kasimir
Malevich, Dynamic Suprematism, 1915 or 1916
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Session 2: USSR in Construction
This talk looks at Russian art from just before
World War 1 until the middle of the 1930s, considering the relation
between Constructivist art and the politics of the period. In
the wake of the 1917 revolution many avant-garde artists identified
with the aims of the Bolshevik regime. Some artists took up teaching
or administrative roles in the new state and many tried to find
appropriate ways to respond to the transformation of social relations.
The impact of the Russian revolution was felt way beyond the confines
of the Soviet territories giving an impetus to the desire to find
a new social role for art. At the same time, the desire to connect
with the revolution introduced the contradiction of 'publics'
into the avant-garde project. The talk examines the contradictions
that shaped the activities of the Soviet avant-garde.
Webcast
of Session 2 (Real Media stream)
Speaker: Steve Edwards, Research Lecturer
in History of Art at The Open University.
Suggested Further Reading
- Paul Wood, 'The revolutionary avant-gardes:
Dada, Constructivism and Surrealism', P. Wood ed., The
Challenge of the Avant-Garde, Yale University Press, 1999,
pp.226-5
- Gail Day, 'Art, love and social emancipation:
on the concept "avant-garde" and the interwar avant-gardes',
S. Edwards & P. Wood eds, Art of the Avant-Gardes,
Yale University Press, 2004, pp.307-337.
- Christena Lodder, 'Soviet Constructivism', S.
Edwards & P. Wood eds, Art of the Avant-Gardes, Yale University
Press, 2004, pp.359-393
- Steve Edwards, '"Profane Illumination": photography and photomontage in the USSR and Germany', S. Edwards & P. Wood eds, Art of the Avant-Gardes, Yale University Press, 2004, pp.397-425
- LEF, Comrades, Organisers of Life (1923), S. Edwards ed, Art and its Histories: a Reader, Yale University Press, 1999, pp.207-210
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