Search results

You are looking at 1 - 3 of 3 items for :

  • Art, Architecture and Visual Culture x
Clear All
Open Access (free)
Design and material culture in Soviet Russia, 1960s–80s

The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913.

This book is about two distinct but related professional cultures in late Soviet Russia that were concerned with material objects: industrial design and decorative art. The Russian avant-garde of the 1920s is broadly recognised to have been Russia’s first truly original contribution to world culture. In contrast, Soviet design of the post-war period is often dismissed as hackwork and plagiarism that resulted in a shabby world of commodities. This book identifies the second historical attempt at creating a powerful alternative to capitalist commodities in the Cold War era. It offers a new perspective on the history of Soviet material culture by focusing on the notion of the ‘comradely object’ as an agent of progressive social relations that state-sponsored Soviet design inherited from the avant-garde. It introduces a shared history of domestic objects, handmade as well as machine-made, mass-produced as well as unique, utilitarian as well as challenging the conventional notion of utility. Situated at the intersection of intellectual history, social history and material culture studies, this book elucidates the complexities and contradictions of Soviet design that echoed international tendencies of the late twentieth century. The book is addressed to design historians, art historians, scholars of material culture, historians of Russia and the USSR, as well as museum and gallery curators, artists and designers, and the broader public interested in modern aesthetics, art and design, and/or the legacy of socialist regimes.

Yulia Karpova

artists worked in ceramics workshops, visited traditional craft centres, talked to each other and to journalists and critics, and produced altogether 400 objects collectively. Many of these objects defied traditional ideas of what ceramics should be and featured abstract and fantastic forms reminiscent of folk clay toys, sculptures by Constantin Brancusi and ceramics by Picasso all at the same time (by 1971 Soviet artists were familiar with all of these sources due to greater access to professional literature and trips abroad).62 The Vilnius symposium was held for a

in Comradely objects
Open Access (free)
Tania Anne Woloshyn

sexuality, the focus of Chapter 5 . The ‘art’ of light therapy There are long-standing art-historical precedents for imaging nudes in the sunlight, of mythical goddesses and biblical figures in pastoral or idyllic settings from the Renaissance onwards. Artists from Titian (1477–1576) to Pablo Picasso (1881–1973) treated the nude in the open air as standard aesthetic fare. By the early twentieth century

in Soaking up the rays