summer school 2014
keywords: art in russia and eastern europe
WEEK ONE: 14-18 July 2014
Course 6: Dr Natalia Murray
Russian Art 1863-1932: Innovations, Influences and the Roots of Modernity
This course is now FULL
This course examines the history of Russian art in all its diversity from the first artists’ rebellion against St. Petersburg’s almighty Art Academy in 1863, the blossoming of arts in Russia’s ‘Silver Age’, to the upsurge of avant-garde art and its subsequent disappearance after 1932, when Socialist Realism became the only artistic style permitted in the Soviet Union. We will look at the cultural as well as geographical boundaries of Russian art, and its contact with developments in European art as well as the shifts of cultural context, which often occurred through emigration, cultural export, exhibitions, publications, and collaborations. The complex nature of the Russian avant-garde, its origins and roots, will be examined throughout the course. We will also look at traditional Russian art and icons and their influence on the Russian avant-garde, and will discuss the works of Repin, Serov, Benois, Bakst, Somov, Vrubel, Malevich, Tatlin, Kandinsky, Filonov, Rodchenko, Chagall, Popova, and others. Lastly, we will examine the influence of political changes in Russia under Stalin on the development of Russian art. Visits include the Victoria and Albert Museum (Ballets Russes drawings and stage designs); the Naum Gabo archive at Tate Britain; the British Museum, and The Courtauld Gallery.
WEEK TWO: 21-25 July 2014
Course 15: Dr Klara Kemp-Welch
Art and Revolution: East European Art from 1917-1989
This course offers a survey of modern and contemporary art from the former Soviet Union and the Central European Soviet satellites. We will focus on the dynamic relationship of artistic practice to the rise and fall of communism in the Soviet bloc. The first part of the course will explore painting, photography, film and design in the decades following the revolution of 1917, mapping the aspirations of avant-garde figures like Kasimir Malevich, Alexander Rodchenko, Sergei Eisenstein, and Dziga Vertov, and the rationale for the introduction of Socialist Realism as official orthodoxy in 1934. In the second part of the course we will focus on the emergence of non-conformist art in the decades following the denunciation of the Stalinist Cult of Personality by Khrushchev, in 1956. Our discussions will include Tadeusz Kantor’s theatre, International Mail Art practices, and the installations of Ilya Kabakov, among others, and will explore relevant writings by key dissidents such as Václav Havel. The course concludes with an examination of the seismic transformations of 1989-91 and their implications for cultural life in the ‘former-East’. Visits include relevant displays at Tate Modern, Calvert 22 and GRAD.