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
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
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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