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The aesthetics of anarchy : art and ideology in the early Russian avant-garde

著者: Гурьянова, Н. А. ; N A Gurʹi︠a︡nova
出版商: Berkeley : University of California Press, ©2012.
版本/格式:   图书 : 州政府或者省政府刊物 : 英语查看所有的版本和格式
数据库:WorldCat
提要:
"Nina Gurianova identifies the early Russian avant-garde (1910-1918) as a distinctive movement in its own right and not a preliminary stage to the Constructivism of the 1920s. Gurianova identifies what she terms an 'aesthetics of anarchy'--art-making without rules--that greatly influenced early twentieth-century modernists. Setting the early Russian avant-garde movement firmly within a broader European context,  再读一些...
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类型/形式: History
材料类型: 政府刊物, 州政府或者省政府刊物, 互联网资源
文件类型: 书, 互联网资源
所有的著者/提供者: Гурьянова, Н. А. ; N A Gurʹi︠a︡nova
ISBN: 9780520268760 0520268768
OCLC号码: 748941743
注意: "Ahmanson Murphy fine arts imprint"
描述: x, 345 p. : ill. ; 24 cm.
内容: Introduction. The Russian avant-garde and the aesthetics of anarchy : ideology, poetics, or politics? --
Movements and ideas. The aesthetics of anarchy : definitions --
Ideas : Bakunin, Tolstoy, and the Russian anarchists --
Movements : Futurisms and the principle of freedom --
Poetics. A game in hell : the poetics of chance and play --
Victory over the sun and the theater of alogism --
Deconstructing the canon : Russian Futurist books --
Locating the avant-garde's social stance. The "social test" : the avant-garde and the Great War --
The Suprematist party --
Politics. Art, creativity, and Anarkhiia --
The last revolt : politics of the Left Federation --
The avant-garde and ideology --
Conclusion. The historical paradigm : the avant-gardes and revolution.
其他题名: Art and ideology in the early Russian avant-garde
责任: Nina Gurianova.

摘要:

Identifies the early Russian avant-garde (1910-1918) as a distinctive movement in its own right and not a preliminary stage to the Constructivism of the 1920s. This title also identifies aesthetics  再读一些...

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schema:description""Nina Gurianova identifies the early Russian avant-garde (1910-1918) as a distinctive movement in its own right and not a preliminary stage to the Constructivism of the 1920s. Gurianova identifies what she terms an 'aesthetics of anarchy'--art-making without rules--that greatly influenced early twentieth-century modernists. Setting the early Russian avant-garde movement firmly within a broader European context, Gurianova draws on a wealth of primary and archival sources by individual writers and artists, Russian theorists, theorizing artists, and German philosophers. Unlike the post-revolutionary avant-garde, which sought to describe the position of the artist in the new social hierarchy, the early Russian avant-garde struggled to overcome the boundaries defining art and to bridge the traditional gap between artist and audience. As it explores the aesthetics embraced by the movement, the book shows how artists transformed literary, theatrical, and performance practices, eroding the traditional boundaries of the visual arts and challenging the conventions of their day." --"
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