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OverviewFirst overview in English of an important but unexplored topic Provides a new approach to the study of the ""eastern"" avant-garde Challenges the unproblematic characterization of these artists as ""Russian"" by some art historians Offers a reinterpretation of several key figures based on new archival materials Examines the nexus between art, politics and the lives of artists Surveys some of the greatest artistic achievements of the period in painting, sculpture, poster art, theatre, and film Can serve as a textbook for students who require an introduction to Ukrainian cultural history Integrates the contribution of Jewish artists from Ukraine Contains reproductions of rarely seen art works Full Product DetailsAuthor: Myroslav ShkandrijPublisher: Academic Studies Press Imprint: Academic Studies Press Weight: 0.333kg ISBN: 9781644696279ISBN 10: 1644696274 Pages: 202 Publication Date: 03 June 2021 Audience: General/trade , General Format: Paperback Publisher's Status: Active Availability: Temporarily unavailable  The supplier advises that this item is temporarily unavailable. It will be ordered for you and placed on backorder. Once it does come back in stock, we will ship it out to you. Table of ContentsAcknowledgements Introduction: The “Historic” Avant-Garde of 1910—1930 Forging the European Connection 1. Kyiv to Paris: Ukrainian Art in the European Avant-Garde, 1910—1930 Politics and Painting 2. Politics and the Ukrainian Avant-Garde 3. Political Posters 1919—1921 and the Boichuk School 4. Jews in the Artistic and Cultural Life of Ukraine in the 1920s 5. National Modernism in Post-Revolutionary Society: Ukrainian Renaissance and Jewish Revival, 1917—1930 Artists in the maelstrom: Five Case Studies 6. David Burliuk and Steppe as Avant-Garde Identity 7. Kazimir Malevich’s Autobiography and Art 8. Vadym Meller and Sources of Inspiration in Theatre Art 9. Ivan Kavaleridze’s Contested Identity 10. Dziga Vertov’s Enthusiasm, Kharkiv and Cultural Revolution The Avant-Garde in Today’s Cultural Memory 11. Remembering the Avant-Garde Bibliography IndexReviewsShkandrij highlights an important Ukrainian dimension of the avant-garde movement. ... Undoubtedly, this book's most important contribution to scholarship is its focus on the Ukrainian dimension of the avant-garde, that has long been neglected in the historiography. Shkandrij notes that their peculiar group features have been obscured by their belonging to the international movement (xi); or their association with the Russian avant-garde. Such a view has become deeply embedded in public reception, as seen from Wikipedia entries, or the controversy surrounding the debate to name Kyiv airport after Malevich. To challenge this contested legacy, Shkandrij offers to examine these artists' self-identification and investigate national inspirations for their artwork. -Olena Palko, Birkbeck, University of London, European History Quarterly In many ways [this] is a restorative history, one that decolonizes Ukrainian art and artists from the Soviet-period culturo-political domination that swallowed 'smaller' non-Russian cultures, and also broadens the understanding of what a Ukrainian artist was in those times. ... The book is well researched and articulately written, and its clarity of presentation makes it accessible to both specialists and a general audience. ... The book will become a standard for those interested in Ukrainian art of the avant-garde. It is important for a number of reasons. First, it identifies the nature of and the major figures of the Ukrainian avant-garde. It also places that avant-garde in the European context in which it rightfully belongs and with which Ukrainian figures interacted. Additionally, it restores several of those figures to Ukrainian culture despite persistent Russian efforts to appropriate them. Besides indicating similarities between members and movements of the avant-garde across national borders, the book shows differences intrinsic to artists from Ukraine. Thus it offers a richer picture of the era via its more inclusive and diverse approach, along with reasoned historical correctives. -Michael M. Naydan, The Pennsylvania State University, Russian Review Myroslav Shkandrij's Avant-Garde Art in Ukraine, 1910-1930: Contested Memory is a timely and urgently needed publication, as it presents Ukraine as a versatile, multiethnic country capable of harboring and nourishing complex artistic and intellectual endeavors. The book should be praised as material testimony to the author's travails of many years in countering incredulity in the very category of the Ukrainian avant-garde and also in complicating this category, moving beyond nativist or ethnic approaches to the idea. -Olena Martyniuk, Kyiv-Mohyla Humanities Journal Myroslav Shkandrij's collection of essays addresses the discomfort with films like Enthusiasm and artists like Vertov in Ukraine today. Remembering the avant-garde is now contested: Were they a tragic executed renaissance, as Iurii Lavrinenko argued? Fellow travelers of a violent political project? True believers or artists simply trying to make a living? This 'contested memory' lies at the heart of Shkandrij's book. -Mayhill C. Fowler, Stetson University, Harvard Ukrainian Studies Myroslav Shkandrij's collection of essays addresses the discomfort with films like Enthusiasm and artists like Vertov in Ukraine today. Remembering the avant-garde is now contested: Were they a tragic executed renaissance, as Iurii Lavrinenko argued? Fellow travelers of a violent political project? True believers or artists simply trying to make a living? This 'contested memory' lies at the heart of Shkandrij's book. --Mayhill C. Fowler, Stetson University, Harvard Ukrainian Studies Myroslav Shkandrij's Avant-Garde Art in Ukraine, 1910-1930: Contested Memory is a timely and urgently needed publication, as it presents Ukraine as a versatile, multiethnic country capable of harboring and nourishing complex artistic and intellectual endeavors. The book should be praised as material testimony to the author's travails of many years in countering incredulity in the very category of the Ukrainian avant-garde and also in complicating this category, moving beyond nativist or ethnic approaches to the idea. --Olena Martyniuk, Kyiv-Mohyla Humanities Journal In many ways [this] is a restorative history, one that decolonizes Ukrainian art and artists from the Soviet-period culturo-political domination that swallowed 'smaller' non-Russian cultures, and also broadens the understanding of what a Ukrainian artist was in those times. ... The book is well researched and articulately written, and its clarity of presentation makes it accessible to both specialists and a general audience. ... The book will become a standard for those interested in Ukrainian art of the avant-garde. It is important for a number of reasons. First, it identifies the nature of and the major figures of the Ukrainian avant-garde. It also places that avant-garde in the European context in which it rightfully belongs and with which Ukrainian figures interacted. Additionally, it restores several of those figures to Ukrainian culture despite persistent Russian efforts to appropriate them. Besides indicating similarities between members and movements of the avant-garde across national borders, the book shows differences intrinsic to artists from Ukraine. Thus it offers a richer picture of the era via its more inclusive and diverse approach, along with reasoned historical correctives. --Michael M. Naydan, The Pennsylvania State University, Russian Review Shkandrij highlights an important Ukrainian dimension of the avant-garde movement. ... Undoubtedly, this book's most important contribution to scholarship is its focus on the Ukrainian dimension of the avant-garde, that has long been neglected in the historiography. Shkandrij notes that their peculiar group features have been obscured by their belonging to the international movement (xi); or their association with the Russian avant-garde. Such a view has become deeply embedded in public reception, as seen from Wikipedia entries, or the controversy surrounding the debate to name Kyiv airport after Malevich. To challenge this contested legacy, Shkandrij offers to examine these artists' self-identification and investigate national inspirations for their artwork. --Olena Palko, Birkbeck, University of London, European History Quarterly Author InformationMyroslav Shkandrij is Professor of Slavic Studies at the University of Manitoba. His previous books include Ukrainian Nationalism, Jews in Ukrainian Literature, and Russia and Ukraine. He has curated exhibitions on the avant-garde in the 1920s and written extensively on twentieth-century Ukraine. Tab Content 6Author Website:Countries AvailableAll regions |
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