The artist as producer : Russian constructivism in revolution
著者
書誌事項
The artist as producer : Russian constructivism in revolution
（Ahmanson・Murphy fine arts imprint）
University of California Press, c2005
- : cloth
大学図書館所蔵 全7件
注記
Bibliography: p. 231-243
Includes index
内容説明・目次
内容説明
The Artist as Producer reshapes our understanding of the fundamental contribution of the Russian avant-garde to the development of modernism. Focusing on the single most important hotbed of Constructivist activity in the early 1920s - the Institute of Artistic Culture (INKhUK) in Moscow - Maria Gough offers a powerful reinterpretation of the work of the first group of artists to call themselves Constructivists. Her lively narrative ranges from famous figures such as Aleksandr Rodchenko to others who are much less well known, such as Karl Ioganson, a key member of the state-funded INKhUK whose work paved the way for an eventual dematerialization of the integral art object. Through the mining of untapped archives and collections in Russia and Latvia and a close reading of key Constructivist works, Gough highlights fundamental differences among the Moscow group in their handling of the experimental new sculptural form - the spatial construction - and of their subsequent shift to industrial production. The Artist as Producer upends the standard view that the Moscow group's formalism and abstraction were incompatible with the sociopolitical imperatives of the new Communist state.
It challenges the common equation of Constructivism with functionalism and utilitarianism by delineating a contrary tendency toward non-determinism and an alternate orientation to process rather than product. Finally, the book counters the popular perception that Constructivism failed in its ambition to enter production by presenting the first-ever case study of how a Constructivist could, and in fact did, operate within an industrial environment. The Artist as Producer offers provocative new perspectives on three critical issues - formalism, functionalism, and failure - that are of central importance to our understanding not only of the Soviet phenomenon but also of the European vanguards more generally.
目次
Preface and Acknowledgments Introduction: Made in Moscow 1. COMPOSITION AND CONSTRUCTION Motivation Vasily Kandinsky's Inaugural Program: The Psychology of Expression and Perception Medium-Specificity: The Working Group of Objective Analysis Historicizing Medium-Specificity: In the Galleries of Sergei Shchukin Differentiating Composition and Construction The Debate's Broader Contexts 2. IN THE LABORATORY OF CONSTRUCTIVISM Tableaux The Advent of a New Form The Program The Gallery A Catalogue of Cold Structures (and One Mechanism) Systemic Invention 3. FORMULATING PRODUCTION Declaration and Dilemma The Constructivist as Inventor Two Drawings and the Problem of Sequence Electrical Circuit (Representation) Invention, without Determinate End 4. THE DEATH OF THE OBJECT Not Our Sputnik The Mortality of Cultures Intermission: The Spengler Controversy in Russia, 1921--22 The Utopia Silently Contained in the Image of Decline Nonobjectivity: Urphanomen of Contemporary Culture Nikolai Tarabukin's Art of Production 5. RED TECHNICS: THE KONSTRUKTOR IN PRODUCTION The Archaeology of an Experiment In the Institute/At the Factory Prokatchik's Profile and Reconstruction The Inventor at the Bench Party Agitator and Production Organizer The Artist as Administrator Conclusion: Constructivism in Revolution Glossary and Abbreviations Notes Selected Bibliography List of Illustrations Index
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