A World of Art, Politics, Passion and Betrayal: Trotsky, Rivera and Breton and Manifesto: Towards A Free Revolutionary Art (1938)

2004 ◽  
pp. 447-466
Author(s):  
Diane Scillia
Keyword(s):  
Revolutionary Art

The Geography of Revolutionary Art

Slavic Review ◽  
2019 ◽  
Vol 78 (4) ◽  
pp. 957-964
Author(s):  
Mayhill C. Fowler
Keyword(s):  
Civil War ◽  
Cultural Center ◽  
Soviet Art ◽  
Revolutionary Art ◽  
Revolutionary Period ◽  
Radical Shift

This article argues that a focus on Ukraine challenges the general understanding of culture in the revolutionary period, which either focuses on artists working in Moscow making Soviet art, or on non-Russian (Ukrainian, Jewish or Polish) artists in the regions making “national” art. Neither paradigm captures the radical shift in infrastructure during the imperial collapse and civil war. Placing the regions at the center of analysis highlights how Kyiv was an important cultural center during the period for later artistic developments in Europe and in the USSR. It shows that revolutionary culture is fundamentally wartime culture. Finally, the article argues that peripheral visions are central to a full geography of culture in order to trace how cultural infrastructures collapse and are re-constituted.

scholarly journals From “Modern” to “Contemporary”: A Case in Post-Cultural Revolutionary Art

2011 ◽  
Vol 1 ◽  
pp. 35-40 ◽  
Author(s):  
Wu Hung
Keyword(s):  
History Of Art ◽  
History Of ◽  
Revolutionary Art

This paper was to have been Wu Hung’s contribution to the conference “Contemporaneity in the History of Art” at the Sterling and Francine Clark Institute, Williamstown, Mass., October 8 and 9, 2009. However, he was unable to attend. The paper is presented here in the form in which it would have been presented. See also, in this issue of Contemporaneity, notes from this conference by its convener, Terry Smith.

John Reed Club Artists and the New Deal: Radical Responses to Roosevelt's “Peaceful Revolution”

Prospects ◽  
1980 ◽  
Vol 5 ◽  
pp. 241-268 ◽  
Author(s):  
Helen A. Harrison
Keyword(s):  
Soviet Union ◽  
Communist Party ◽  
New Deal ◽  
Social Conditions ◽  
Attractive Alternative ◽  
Cultural Organization ◽  
The Soviet Union ◽  
John Reed ◽  
Revolutionary Art ◽  
The New Deal

In the early 1930s, a significant number of American artists who were aligned, either practically or theoretically, with the Communist Party became supporters of the New Deal. Artist members of the John Reed Club, a Party-directed cultural organization, were enjoined to develop “revolutionary art” as a vehicle for the type of social change that had transformed tsarist Russia into the Soviet Union. Yet many of them found Roosevelt's “peaceful revolution” worthy of the highest accolade they could bestow on a subject: its inclusion as an affirmative theme in their work. In so viewing it, they ran counter to the Party's stated policy in opposition to socioeconomic reform—a policy that was later reversed to accommodate the New Deal and thus vindicate the artists's position. From its inception, the New Deal seemed to offer artists an attractive alternative to the forcible overthrow of all existing social conditions predicted by Marx and promulgated by the Communists.

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