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Soviet Salvage: Imperial Debris, Revolutionary Reuse, and Russian Constructivism
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eBay-objectnummer:282954314152
Specificaties
- Objectstaat
- Book Title
- Soviet Salvage: Imperial Debris, Revolutionary Reuse, and Russian
- Publication Date
- 2017-10-10
- Pages
- 248
- ISBN
- 9780271077697
- Subject Area
- Art, History
- Publication Name
- Soviet Salvage : Imperial Debris, Revolutionary Reuse, and Russian Constructivism
- Publisher
- Pennsylvania STATE University Press
- Item Length
- 9.5 in
- Subject
- History / Modern (Late 19th Century to 1945), Russia & the Former Soviet Union, Russian & Former Soviet Union
- Publication Year
- 2017
- Series
- Refiguring Modernism Ser.
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Item Height
- 0.9 in
- Item Weight
- 47.3 Oz
- Item Width
- 9 in
- Number of Pages
- 248 Pages
Over dit product
Product Identifiers
Publisher
Pennsylvania STATE University Press
ISBN-10
0271077697
ISBN-13
9780271077697
eBay Product ID (ePID)
237403781
Product Key Features
Number of Pages
248 Pages
Publication Name
Soviet Salvage : Imperial Debris, Revolutionary Reuse, and Russian Constructivism
Language
English
Publication Year
2017
Subject
History / Modern (Late 19th Century to 1945), Russia & the Former Soviet Union, Russian & Former Soviet Union
Type
Textbook
Subject Area
Art, History
Series
Refiguring Modernism Ser.
Format
Hardcover
Dimensions
Item Height
0.9 in
Item Weight
47.3 Oz
Item Length
9.5 in
Item Width
9 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2016-054606
Dewey Edition
23
Reviews
"Perhaps the most salient feature of Russian Constructivism is that its universal reputation rests not upon what it produced, but rather upon its unfulfilled intentions, dreams, blueprints, and prototypes. Drawing on rare bibliographical and archival sources and moving across film, photography, fashion, and other media, Catherine Walworth describes the 'sweet nothings' of the Constructivists by emphasizing their reliance on the 'salvage' of throwaway objects, built-in obsolescence, chance, and art trouv. In this way she brings to bear an alternative and refreshing light upon the later phase of the Russian avant-garde, offering us a truly synthetic and interdisciplinary assessment." --John E. Bowlt, author of Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934, "This lucidly written and generously illustrated publication offers fresh insights by bringing methods of material culture to bear on the complexities of cultural production in the first decade of Bolshevik rule." -Tom Cubbin, West 86th: A Journal of Decorative Arts, Design History, and Material Culture, "Perhaps the most salient feature of Russian Constructivism is that its universal reputation rests not upon what it produced, but rather upon its unfulfilled intentions, dreams, blueprints, and prototypes. Drawing on rare bibliographical and archival sources and moving across film, photography, fashion, and other media, Catherine Walworth describes the 'sweet nothings' of the Constructivists by emphasizing their reliance on the 'salvage' of throwaway objects, built-in obsolescence, chance, and art trouvé. In this way she brings to bear an alternative and refreshing light upon the later phase of the Russian avant-garde, offering us a truly synthetic and interdisciplinary assessment." --John E. Bowlt, author of Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934, "Those familiar with twentieth century Russian history will read Catherine Walworth's Soviet Salvage feeling the pendulum about to swing like a wrecking ball against the arts." --Samuel Scheib Russian Life, "This book is informative, full of well-chosen imagery, and ultimately inspiring too." --Michael Mosher Leonardo Reviews, "Perhaps the most salient feature of Russian Constructivism is that its universal reputation rests not upon what it produced, but rather upon its unfulfilled intentions, dreams, blueprints, and prototypes. Drawing on rare bibliographical and archival sources and moving across film, photography, fashion, book design, and other media, Catherine Walworth describes the 'sweet nothings' of the Constructivists by emphasizing their reliance on the 'salvage' of throwaway objects, built-in obsolescence, chance, and art trouv. In this way she brings to bear an alternative and refreshing light upon the later phase of the Russian avant-garde, offering us a truly synthetic and interdisciplinary assessment." --John E. Bowlt, author of Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934, "A fascinating and beautifully illustrated cultural history of the artists who made it their business to recycle the rubble of one world into the everyday items of a new one. . . . This book remains a fascinating testament to the achievements these artists left behind." --Rodney Welch Columbia Free Times, "Perhaps the most salient feature of Russian Constructivism is that its universal reputation rests not upon what it produced, but rather upon its unfulfilled intentions, dreams, blueprints, and prototypes. Drawing on rare bibliographical and archival sources and moving across film, photography, fashion, book design, and other media, Catherine Walworth describes the 'sweet nothings' of the Constructivists by emphasizing their reliance on the 'salvage' of throwaway objects, built-in obsolescence, chance, and art trouv. In this way she brings to bear an alternative and refreshing light upon the later phase of the Russian avant-garde, offering us a truly synthetic and interdisciplinary assessment." -John E. Bowlt, author of Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934, "Perhaps the most salient feature of Russian Constructivism is that its universal reputation rests not upon what it produced, but rather upon its unfulfilled intentions, dreams, blueprints, and prototypes. Drawing on rare bibliographical and archival sources and moving across film, photography, fashion, and other media, Catherine Walworth describes the 'sweet nothings' of the Constructivists by emphasizing their reliance on the 'salvage' of throwaway objects, built-in obsolescence, chance, and art trouvé. In this way she brings to bear an alternative and refreshing light upon the later phase of the Russian avant-garde, offering us a truly synthetic and interdisciplinary assessment." -John E. Bowlt, author of Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934, "This is an important multi-disciplinary publication and should be in any library with readers interested in film, fashion, and ceramics, as well as early Soviet history and culture." --Stephen J. Bury ARLIS/NA Reviews, "This lucidly written and generously illustrated publication offers fresh insights by bringing methods of material culture to bear on the complexities of cultural production in the first decade of Bolshevik rule." --Tom Cubbin West 86th: A Journal of Decorative Arts, Design History, and Material Culture, "A fascinating and beautifully illustrated cultural history of the artists who made it their business to recycle the rubble of one world into the everyday items of a new one. . . . This book remains a fascinating testament to the achievements these artists left behind." -Rodney Welch, Columbia Free Times, "Those familiar with twentieth century Russian history will read Catherine Walworth's Soviet Salvage feeling the pendulum about to swing like a wrecking ball against the arts." -Samuel Scheib, Russian Life, "A fascinating and beautifully illustrated cultural history of the artists who made it their business to recycle the rubble of one world into the everyday items of a new one. . . . This book remains a fascinating testament to the achievements these artists left behind." --Rodney Welch, Columbia Free Times, "This is an important multi-disciplinary publication and should be in any library with readers interested in film, fashion, and ceramics, as well as early Soviet history and culture." -Stephen J. Bury, ARLIS/NA Reviews, "This book is informative, full of well-chosen imagery, and ultimately inspiring too." --Michael Mosher, Leonardo Reviews, "This book is informative, full of well-chosen imagery, and ultimately inspiring too." -Michael Mosher, Leonardo Reviews, "Those familiar with twentieth century Russian history will read Catherine Walworth's Soviet Salvage feeling the pendulum about to swing like a wrecking ball against the arts." --Samuel Scheib, Russian Life, "Perhaps the most salient feature of Russian Constructivism is that its universal reputation rests not upon what it produced, but rather upon its unfulfilled intentions, dreams, blueprints, and prototypes. Drawing on rare bibliographical and archival sources and moving across film, photography, fashion, and other media, Catherine Walworth describes the 'sweet nothings' of the Constructivists by emphasizing their reliance on the 'salvage' of throwaway objects, built-in obsolescence, chance, and art trouvé. In this way she brings to bear an alternative and refreshing light upon the later phase of the Russian avant-garde, offering us a truly synthetic and interdisciplinary assessment." --John E. Bowlt,author of Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934, "This lucidly written and generously illustrated publication offers fresh insights by bringing methods of material culture to bear on the complexities of cultural production in the first decade of Bolshevik rule." --Tom Cubbin, West 86th: A Journal of Decorative Arts, Design History, and Material Culture, "This is an important multi-disciplinary publication and should be in any library with readers interested in film, fashion, and ceramics, as well as early Soviet history and culture." --Stephen J. Bury, ARLIS/NA Reviews
Series Volume Number
23
Illustrated
Yes
Dewey Decimal
709.47/09042
Table Of Content
Contents List of Illustrations Acknowledgments Note to the Reader Introduction 1 The Economic Shaping of Constructivism 2 A Blank Slate: The First Years of Soviet Propaganda Porcelain 3 Nadezhda Lamanova: On the Elegant Fringes of Constructivist Dress 4 Esfir Shub: "Magician of the Editing Table" 5 The Five-Year Plan Prompts a Fire Sale Conclusion Notes Bibliography Index
Synopsis
In Soviet Salvage , Catherine Walworth explores how artists on the margins of the Constructivist movement of the 1920s rejected "elitist" media and imagined a new world, knitting together avant-garde art, imperial castoffs, and everyday life. Applying anthropological models borrowed from Claude L vi-Strauss, Walworth shows that his mythmaker typologies--the "engineer" and "bricoleur"--illustrate, respectively, the canonical Constructivists and artists on the movement's margins who deployed a wide range of clever make-do tactics. Walworth explores the relationships of Nadezhda Lamanova, Esfir Shub, and others with Constructivists such as Aleksei Gan, Varvara Stepanova, and Aleksandr Rodchenko. Together, the work of these artists reflected the chaotic and often contradictory zeitgeist of the decade from 1918 to 1929 and redefined the concept of mass production. Reappropriated fragments of a former enemy era provided a wide range of play and possibility for these artists, and the resulting propaganda porcelain, film, fashion, and architecture tell a broader story of the unique political and economic pressures felt by their makers. An engaging multidisciplinary study of objects and their makers during the Soviet Union's early years, this volume highlights a group of artists who hover like free radicals at the border of existing art-historical discussions of Constructivism and deepens our knowledge of Soviet art and material culture., In Soviet Salvage , Catherine Walworth explores how artists on the margins of the Constructivist movement of the 1920s rejected "elitist" media and imagined a new world, knitting together avant-garde art, imperial castoffs, and everyday life. Applying anthropological models borrowed from Claude Lévi-Strauss, Walworth shows that his mythmaker typologies--the "engineer" and "bricoleur"--illustrate, respectively, the canonical Constructivists and artists on the movement's margins who deployed a wide range of clever make-do tactics. Walworth explores the relationships of Nadezhda Lamanova, Esfir Shub, and others with Constructivists such as Aleksei Gan, Varvara Stepanova, and Aleksandr Rodchenko. Together, the work of these artists reflected the chaotic and often contradictory zeitgeist of the decade from 1918 to 1929 and redefined the concept of mass production. Reappropriated fragments of a former enemy era provided a wide range of play and possibility for these artists, and the resulting propaganda porcelain, film, fashion, and architecture tell a broader story of the unique political and economic pressures felt by their makers. An engaging multidisciplinary study of objects and their makers during the Soviet Union's early years, this volume highlights a group of artists who hover like free radicals at the border of existing art-historical discussions of Constructivism and deepens our knowledge of Soviet art and material culture., Examines how Russian Constructivist artists in the 1920s imagined a new physical environment through the creation of recycled and reappropriated objects.
LC Classification Number
N6988.5.C64W35 2017
Copyright Date
2017
ebay_catalog_id
4
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