A revelatory compendium on the reinvention of Soviet poster art under Glasnost As we approach the 30th anniversary of the dissolution of the USSR, this publication looks back at the rich history of Soviet art from the USSR's final chapter: the colorful and radical posters of Glasnost. Ushered in by Mikhail Gorbachev, Glasnost (translating as "openness" or "transparency") was a movement that allowed for artistic and open-minded alternatives to the state-endorsed Social Realism. Within this movement, posters became the primary vehicles for confronting the history of the USSR from the vantage of its impending dissolution. The book features approximately 212 reproductions of posters from the Martha H. and J. Speed Carroll Collection, as well as essays by Russian history scholar Andy Willimott and art historian Pepe Karmel, and an introduction by J. Speed Carroll. Also included are three interviews with Russian artists who produced some of the posters pictured, conducted by Russian translator Bela Shayevich.

Includes two essays by Alexei Plutser-Sarno.

The way in which the Russian Revolution of October 1917 is regarded and commemorated has changed considerably over time, and is a contentious subject, well demonstrated by the absence of any official commemoration in Russia in 2017, a huge contrast to the very large celebrations which took place in Soviet times. This book, which brings together a range of leading historians of the Russian Revolution—from both Russia and the West, and both younger and older historians—explores the changes in the way in which the October 1917 Revolution is commemorated, and also examines fundamental questions about what the Russian Revolution—indeed what any revolution—was anyway. Among the issues covered are how Soviet and Western historians diverged in their early assessments of what the Revolution achieved, how the period studied by historians has recently extended both much earlier before 1917 and much later afterwards, and how views of the Revolution within the Soviet Union changed over time from acceptance of the official Communist Party interpretation to more independent viewpoints. Overall, the book provides a major reassessment of one of the twentieth century’s most important events.

"Spufford cunningly maps out a literary genre of his own . . . Freewheeling and fabulous." —The Times (London) Strange as it may seem, the gray, oppressive USSR was founded on a fairy tale. It was built on the twentieth-century magic called "the planned economy," which was going to gush forth an abundance of good things that the lands of capitalism could never match. And just for a little while, in the heady years of the late 1950s, the magic seemed to be working. Red Plenty is about that moment in history, and how it came, and how it went away; about the brief era when, under the rash leadership of Khrushchev, the Soviet Union looked forward to a future of rich communists and envious capitalists, when Moscow would out-glitter Manhattan and every Lada would be better engineered than a Porsche. It's about the scientists who did their genuinely brilliant best to make the dream come true, to give the tyranny its happy ending. Red Plenty is history, it's fiction, it's as ambitious as Sputnik, as uncompromising as an Aeroflot flight attendant, and as different from what you were expecting as a glass of Soviet champagne.

The exhibition Stenberg Brothers: Constructing a Revolution in Soviet Design, organized by Christopher Mount, Assistant Curator in the Department of Architecture and Design, is the first critical survey of the work of these two seminal figures in the history of twentieth-century graphic design.

Автор книги решила проверить, насколько актуальны рецепты из Книги о вкусной и здоровой пище. Для этого она приготовила больше 100 блюд из книги и попросила свою бабушку поделиться воспоминаниями о советском времени. Итогом стала книга, в которой записана устная история одной семьи через призму старых рецептов.