Groundbreaking new insight into a rich spectrum of early Soviet art and its spaces of display Published on the centenary of the Russian Revolution, this landmark book gathers information from the forefront of current research in early Soviet art, providing a new understanding of where art was presented, who saw it, and how the images incorporated and conveyed Soviet values. More than 350 works are grouped into areas of critical importance for the production, reception, and circulation of early Soviet art: battlegrounds, schools, the press, theaters, homes and storefronts, factories, festivals, and exhibitions. Paintings by El Lissitzky and Liubov Popova are joined by sculptures, costumes and textiles, decorative arts, architectural models, books, magazines, films, and more. Also included are rare and important artifacts, among them a selection of illustrated children's notes by Joseph Stalin's daughter, Svetlana Allilueva, as well as reproductions of key exhibition spaces such as the legendary Obmokhu (Constructivist) exhibition in 1921; Aleksandr Rodchenko's 'Workers' Club in 1925; and a Radio-Orator kiosk for live, projected, and printed propaganda designed by Gustav Klutsis in 1922. Bountifully illustrated, this book offers an unprecedented, cross-disciplinary analysis of two momentous decades of Soviet visual culture.

How artists wield demonstration to question the status quo both aesthetically and politically, marshaling art and education as powerful agents of change. Demonstration, in short, says: See here. It is the practice of pointing to something in order to explain or contest it. As such, Sven Spieker argues that demonstration has helped reshape art from the height of the Cold War to the late twentieth century, reformatting our understanding of how art and political engagement relate to each other. Focusing on Western Europe (especially Germany), Eastern Europe, and the United States, Art as Demonstration expands on contemporary discussions of art-as-protest, activism, and resistance. Spieker shows how a closer, more historical look at art’s connection with demonstration reconnects us with earlier efforts, notably by the early twentieth-century avant-garde, to marshal art for the purpose of instruction and engagement. Art as Demonstration reconceives the history of postwar art in Eastern and Western Europe from the perspective of demonstration, understood formally (as a technique for showing and pointing) as well as politically (as protest, resistance, etc.). Close analyses of individual artworks reveal how the deployment of demonstration has changed over time. Spieker shows how “protest” and “resistance” organize art and artists not only politically but also and especially formally and aesthetically—a development of particular importance in the Cold War art and politics of Eastern Europe. The book illustrates how from the 1960s onward demonstration radically changed the way artists thought about art: no longer as an object but as a form of education.

Readings on the Russian Revolution brings together 15 important post-Cold War writings on the history of the Russian Revolution. It is structured in such a way as to highlight key debates in the field and contrasting methodological approaches to the Revolution in order to help readers better understand the issues and interpretative fault lines that exist in this contested area of history. The book opens with an original introduction which provides essential background and vital context for the pieces that follow. The volume is then structured around four parts – 'Actors, Language, Symbols', 'War, Revolution, and the State', 'Revolutionary Dreams and Identities' and 'Outcomes and Impacts' – that explore the beginnings, events and outcomes of the Russian Revolution, as well as examinations of central figures, critical topics and major historiographical battlegrounds. Melissa Stockdale also provides translations of two crucial Russian-language works, published here in English for the first time, and includes useful pedagogical features such as a glossary, chronology, and thematic bibliography to further aid study. Readings on the Russian Revolution is an essential collection for anyone studying the Russian Revolution.

The year 2017 saw a multitude of conferences and exhibitions devoted to the centenary of the Russian Revolutions, both in Russia and in other parts of the world. The commemoration of this event would be incomplete without an exploration of its Northern dimension; in October 2017, UiT The Arctic University of Norway hosted the conference The Russian Revolutions of 1917: The Northern Impact and Beyond. Norway and Russia are both northern states, and the two countries have a common border in the High North. Some articles in this volume, based on the conference proceedings, investigate the impact of the Russian Revolution in Norway and Sweden, while others deal with the High North, e.g. the Revolution and Civil War in Northern Russia and the radicalization of the workers’ movement of Northern Norway; some are also devoted to representations of the Russian Revolution at exhibitions and on the big screen.

This book brings together thirteen scholars to introduce the newest and most cutting-edge research in the field of Russian and East European art history. Reconsidering canonical figures, re-examining prevalent debates, and revisiting aesthetic developments, the book challenges accepted histories and entrenched dichotomies in art and architecture from the nineteenth century to the present. In doing so, it resituates the artistic production of this region within broader socio-cultural currents and analyzes its interconnections with international discourse, competing political and aesthetic ideologies, and continuous discussions over identity.

"Dislodging the avant-garde from its central position in the narrative of Soviet art, Collective Body presents painter Aleksandr Deineka's haptic and corporeal version of Socialist Realist figuration not as the enemy of revolutionary art, but as an alternate experimental aesthetic that, at its best, activates and organizes affective forces for collective ends. Tracing Deineka's path from his avant-garde origins as the inventor of the proletarian body in illustrations for mass magazines after the Revolution through his success as a state-sponsored painter of monumental, lyrical canvases during the Great Terror and beyond, Collective Body demonstrates that Socialist Realism is best understood not as a totalitarian style, but rather as a fiercely collective art system that organized art outside the market and formed part of the legacy of the revolutionary modernisms of the 1920s. Collective Body accounts for the way the art of the October Revolution continues to capture viewers' imaginations through the sheer intensity of its evocation of the elation of collectivity, making viewers not only comprehend but also truly feel socialism, and retaining the potential to inform our own art-into-life experiments within contemporary political art. Deineka figures in this study not as a singular master, in the spirit of a traditional monograph, but as a limited case of the system he inhabited and helped to create"--

Through the lens of Aleksandr Rodchenko's photography, a new and provocative understanding emerges of the troubled relationship between technology, modernism, and state power in Stalin's Soviet Union Tracing the shifting meanings of photography in the early Soviet Union, Aglaya K. Glebova revises the relationship between art and politics during what is usually considered the end of the critical avant-garde. Aleksandr Rodchenko (1891-1956) was a highly versatile Russian artist and one of Constructivism's founders. His photographic work between 1928, when Stalin rose to power, and the late 1930s reveals a wide-ranging search for a different pictorial language in the context of the extreme transformations carried out under the Five-Year Plans. In response to forced modernization, Rodchenko's photography during this time questioned his own modernist commitments. At the heart of this argument is Rodchenko's infamous 1933 photo-essay on the White Sea-Baltic Canal, site of one of the first gulags. Glebova's careful reading of Rodchenko's oeuvre yields a more diverse practice than has been generally acknowledged and brings to light new aspects of his work in adjacent media, including the collaborative design work he undertook with Varvara Stepanova.