The Russian Avant-Garde and Radical Modernism : An Introductory Reader. — Boston, 2012 | портал о дизайне и архитектуре

The Russian Avant-Garde and Radical Modernism : An Introductory Reader / Edited by Dennis G. Ioffe and Frederick H. White. — Boston : Academic Studies Press, 2012. — 486 p., ill. — (Cultural Syllabus ; Series Editor: Mark Lipovetsky, University of Colorado - Boulder). — ISBN 978-1-936235-29-2 (hardback). — ISBN 978-1-936235-45-2 (paperback)

This volume is intended for a student audience and aims at providing a general overview of the main currents that constituted the final stage of the modernist creative history—the Russian avant-garde described from a historical perspective. The collection features a number of original contributions commissioned specifically for the resent volume along with some scholarly classics devoted to the relevant topics. The texts presented in this reader were selected with the aim of bringing the most suitable and accessible information on the issues in question. They reflect both a high caliber of scholarly rigor and professional substantiality along with an overall accessibility for students.

List of Illustrations 7

Note from the Editors 8

I. An Introduction to the Russian Avant-Garde and Radical Modernism by Dennis Ioffe and Frederick H. White 9

II. Russian Futurism and the Related Currents

1. Hylaea by Vladimir Markov 21

1a) Velimir Khlebnikov: A “Timid” Futurist by Willem G. Weststeijn 54

1b) Mayakovsky as Literary Critic by Willem G. Weststeijn 70

2. Russian Art of the Avant-Garde: Translated Texts: John E. Bowlt 85

Content and Form, 1910 — VASILII KANDINSKY 85

Preface to Catalogue of One-Man Exhibition, 1913 — NATALYA GONCHAROVA 89

Cubism (Surface-Plane), 1912 — DAVID BURLIUK 93

Cubism, I912 — NATALYA GONCHAROVA 101

Why We Paint Ourselves: A Futurist Manifesto, 1913 — ILYA ZDANEVICH and MIKHAIL LARIONOV 102

Rayonists and Futurists. A Manifesto, 1913 — MIKHAIL LARIONOV and NATALYA GONCHAROVA 105

Rayonist Painting, 1913 — MIKHAIL LARIONOV 109

Pictorial Rayonism, 1914 — MIKHAIL LARIONOV 118

From Cubism and Futurism to Suprematism: The New Painterly Realism, 1915 — KAZIMIR MALEVICH 120

Suprematism in World Reconstruction, 1920 — EL LISSITZKY 140

Program Declaration, 1919 — KOMFUT 147

3. The Phenomenon of David Burliuk in the History of the Russian Avant-Garde Movement by Elena Basner 150

4. The Revolutionary Art of Natalia Goncharova and Mikhail Larionov by Jane A. Sharp 170

III. Russian Suprematism and Constructivism

1. Kazimir Malevich: His Creative Path by Evgenii Kovtun 206

2. Constructivism and Productivism in the 1920s by Christina Lodder 227

3. The Birth of Socialist Realism from the Spirit of the Russian Avant-Garde by Boris Groys 250

4. Russian Art of the Avant-Garde: Translated Texts: John E. Bowlt 277

The Paths of Proletarian Creation, 1920 — ALEKSANDR BOGDANOV 277

Declaration: Comrades, Organizers of Life, 1923 — LEF 281

Constructivism [Extracts], 1922 — ALEKSEI GAN 284

IV. The OBERIU Circle (Daniil Kharms and His Associates)

1. OBERIU: Daniil Kharms and Aleksandr Vvedensky on/in Time and History by Evgeny Pavlov 296

2. Some Philosophical Positions in Some “OBERIU” Texts (Translator’s preface) by Eugene Ostashevsky 314

V. Russian Experimental Performance and Theater

1. Vsevolod Meyerhold by Alexander Burry 357

2. The Culture of Experiment in Russian Theatrical Modernism: the OBERIU Theater and the Biomechanics of Vsevolod Meyerhold by Michael Klebanov 385

VI. Avant-Garde Cinematography: Sergei Eisenstein and Dziga Vertov

1. Eisenstein: A Short Biography by Frederick H. White 407

2. Allegory and Accommodation: Vertov’s Three Songs of Lenin (1934) as a Stalinist Film by John MacKay 420

Concluding Addendum: The Tradition of Experimentation in Russian Culture and the Russian Avant-Garde by Dennis Ioffe 454

List of Contributors 468

Bibliography 472

Note from the Editors

This Reader is a collection of the most salient texts about the Russian avant-garde and radical modernism. The previously published texts, for the most part, remain the way in which they originally appeared in print. Therefore, you will note seeming inconsistencies in the transliterations of names and possibly in titles of some works.

The transliteration systems employed in the volume vary between the (phonetically based) Library of Congress system of transliterating Russian Cyrillic and the International system (also called the scientific or the European system).

The editors of this volume decided not to standardize these transliterations as it might lead to further alterations, which would begin to impinge heavily upon the original text.

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The Russian Avant-Garde and Radical Modernism : An Introductory Reader. — Boston, 2012

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Note from the Editors

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