The Rise of the Russian Avant-Garde. The exhibition will be on view December 3, — March 12, Planned in anticipation of the centennial year of the Russian Revolution, the exhibition highlights breakthrough developments in the conception of Suprematism and Constructivism, as well as in avant-garde poetry, theater, photography, and film, by such figures as Alexandra Exter, Natalia Goncharova, El Lissitzky, Kazimir Malevich, Vladimir Mayakovsky, Lyubov Popova, Alexandr Rodchenko, Olga Rozanova, Vladimir and Georgii Stenberg, and Dziga Vertov, among others. The exhibition features a rich cross-section of works across several mediums — opening with displays of pioneering non-objective paintings, prints, and drawings from the years leading up to and immediately following the Revolution, followed by a suite of galleries featuring photography, film, graphic design, and utilitarian objects, a transition that reflects the shift of avant-garde production in the s.
In the last few decades scholarly energy in a variety of disciplines has been invested in challenging diachrony-based methodologies — those approaches to texts, artefacts, cultural phenomena and language itself that insist on tracing their lineage, or heritage, and the changes these objects and occurrences undergo over time.
The main rationale for turning away from diachronic approaches lies in what has come to be perceived as their dangerous proximity to vulgar chronological thinking, premised on an effort to establish and impose a single recognizable vision and record of history.
The latter is often seen as a product of a specific brand of thinking that relies on the recorded supposedly homogenous history of Europe and North America as a model for the identification and evaluation of global artefacts and phenomena — one which conspicuously disadvantages those histories that have been poorly recorded or that have alternative patterns of operation over time.
This mode of thinking, the argument goes, is itself the product of a selective diachrony because it was historically developed, and remains rooted, in the context of the Enlightenment belief in perpetual progress and a Eurocentric global cultural patrimony.
Thus the project of querying diachrony has come to identify itself with a hermeneutics of mistrust: The replacement of diachronic with synchronic approaches, however, presents scholars with a new set of challenges, since the desire to invoke and commemorate the diachronic passage of time in order to accept or reject past events remains unabated, and even intensifies if one attempts to assess diverse cultures, their histories and their artefacts.
Since at least the late s this debate and Understanding the emergence of futurist suprematist repercussions have galvanized in particular the discipline of comparative literature and the efforts within it to engage in either diachrony-based or synchrony-based scholarship, or a combination of the two.
In order to assess the consequences which any of the practices glossed above might have on the actual study of world artefacts, while simultaneously paying tribute to the scholarship that engages with an anniversary-based approach, this article takes the year as its flexible case study.
The year has not been selected randomly or circumstantially: I argue that the scholarly hesitancy I am describing is, in fact, a legacy of the specific modifications in the way we perceive temporal and spatial orientations, a transformation in our thinking that occurred in or about Acted out as both an artistic enigma and a hermeneutic conundrum, the issues of synchrony—diachrony came to particular prominence in or about and have remained with us ever since.
Mapping the field I would like to start with a more detailed outline of the major hermeneutic problem that we face in comparative studies today, which I introduced above.
After a long period of dominance, diachronic scholarship was called into question in a range of disciplines in the early-to-mid twentieth century.
With the processes of decolonization and reterritorialization on the rise in the s to s, scholarly awareness of the multitude of neglected histories further increased, generating an imperative to address their cultural products with as much parity as possible.
Thinking diachronically came to be seen as an indefensible espousal of certain selective diachronies and an endorsement of what J. Such thinking also informs the recent revival of the use of date-specific scholarship.
The inclination to sideline socio-economic and historical particulars appears to be the first corollary of such thinking: To take just one example relevant to this article: Each of these had momentous consequences not only on the political history of and everyday life in the areas in question, but also on their literatures and arts, then and in the years to come: Much effort, theoretical and critical, has been made to take into account political and cultural variegation across multifarious and stratified temporalities.
But to do justice to the diversity of circumstances, behaviours and modes of expression discernible in each instance of comparative juxtaposition presents an almost impossible task, as my thought experiment testifies.
One has a strong sense of the need to continue searching for a more appropriate hermeneutic pathway. It appears to me, however, that many of these conundrums were not only presaged but also theoretically and creatively acted upon in or around What we live today is the geopolitically and culturally updated legacy of this moment — an anniversary effect, if you wish.
The following comparative exercise aims to re-trace this modernist challenge to thinking. On anticipation and recapitulation was an unusual year for artistic awakening. The First World War raged across the globe; many artists were actively involved in conflict, and many more were engaged by proxy, responding to the war or to local political developments.
Some opted to articulate the more general ferment of the decade instead; others retreated into a studied pursuit of anthropological absolutes. So what does this palimpsestic picture of the art year look like?
The timing of the Crisis selection was judicious, if unfortunate, for on 8 February D. Griffith, an experienced artist in a new art form, premiered his cinematic masterpiece The Birth of a Nation, which disquietingly sanctioned racism and galvanized the revival of the Ku Klux Klan.
These issues also inform much of the colossal amount of poetry written or published in At the same time, Punjabi Indian poet-philosopher Allama Muhammad Iqbal published his first collection of poetry in Urdu, The Secrets of the Self Asrar-i-Khudi,in which the exterior world likewise collapses into the self, but this time for religious reasons.
Another woman artist, Brazilian Anita Malfatti, responded to calls for a stronger female artistic voice by painting her fauvist-cubist masterpiece The Silly Girl La Boba, These avant-garde female voices also deliberately put themselves at the forefront of what they saw as a pacifist mission.
Manifold issues that culture-makers in were concerned with found their embodiment in an extraordinary book: This work, it seems to me, epitomizes well an important change in the way we perceive heritage, innovation, authorship and, more generally, those questions of diachrony and synchronicity which brought us.
The Russian Formalists, as they are now known, felt acutely that their new era required a more rigorous — more autotelic and less diachronic — approach to both art and scholarship.
Kazhetsia, nastupaet velikoe vremia. My stoim u vashih vorot, i krichim razrushim, razrushim, i znaem, chto vyshe skuchnykh antichnykh krysh vzbezhali v nebo pobegi goticheskikh zdanii, podobnykh stolbam pozhara. A new beauty is being born, a new drama is being born:The angular reliefs of Tatlin were presented to the public for the first time in December , at the "Last futurist exposition: ," at which were displayed the suprematist canvasses of Malevich.
The Last Futurist Exhibition of Paintings (zeroten), held in Petrograd (now St. Petersburg) in December , highlighted two new models of abstraction. One, developed by Vladimir Tatlin, focused on a group of nonrepresentational Counter-Reliefs (“reliefs with a particular pronounced tension”).
Initial Abstract Theories and their Relevance in Contemporary Art Natasha Edmondson Bachelor of Arts (Hons) in Visual Art gain an understanding as to whether a work of abstraction is good or bad?
Today, the viewer may still ask many of these questions in an his technical manifesto of futurist sculpture. Search the history of over billion web pages on the Internet.
El Lissitzky Composition suprématiste / Suprematist composition Gouache et crayon sur papier / Gouache and pencil on paper x cm Suprematist Composition: Airplane Flying Oil on canvas 22 7/8 x 19″ ( x cm) “We created a new understanding of beauty, and enlarged the concept of art.” The emergence of photography gave painting the perfect opportunity to free itself from all figurative or representative imperatives.
Artists did not have to decide.