scholarly journals Anniversary solo exhibitions of Zurab Tsereteli abroad

2019 ◽  
Author(s):  
Мария Владиславовна Федорова
Keyword(s):  
Great Britain ◽  
Contemporary Art ◽  
Russian Federation ◽  
Possible Worlds ◽  
Modern Art ◽  
International Exhibition ◽  
Museum Of Modern Art ◽  
Charlie Chaplin ◽  
State Museum ◽  
The Russian Federation

Статья представляет обзор зарубежных выставокЗураба Константиновича Церетели. Зураб Церетели народный художник СССР и Российской Федерации, посол доброй воли ЮНЕСКО, президент Российской академии художеств отметил свой 85-летие в 2019 году. В течение года он представил свои скульптуры, живописные и графические работы на выставках Больше, чем жизнь (галерея Саатчи , Лондон, Великобритания), Возможные миры (Центр Гейдара Алиева, Баку, Азербайджан), Чарли Чаплин в Тифлисе (филиал Московского музея современного искусства, Тбилиси, Грузия), Персоналии Зураб Церетели (Государственный музей Лихтенштейна, Вадуц, Лихтенштейн), Монументальность (галерея D10 Art Space, Женева, Швейцария), экспозиции намеждународной выставке современного искусства АртПариж (Гран Пале, Париж), международной художественной ярмарке Art Bahrain Across Borders 2019 (Бахрейн). The article provides an overview of foreign exhibitions of Zurab Konstantinovich Tsereteli. Zurab Tsereteli, Peoples Artist of the USSR and the Russian Federation, UNESCO Goodwill Ambassador, President of the Russian Academy of Arts, celebrated his 85th birthday in 2019. During the year, he presented his sculptures, paintings and graphic works at the exhibitions More than Life (Saatchi Gallery, London, Great Britain), Possible Worlds (Heydar Aliyev Center, Baku, Azerbaijan), Charlie Chaplin in Tiflis (Branch of the Moscow Museum of Modern Art, Tbilisi, Georgia), Personalities Zurab Tsereteli (State Museum of Liechtenstein, Vaduz, Liechtenstein), Monumental (D10 Art Space Gallery, Geneva, Switzerland),expositions at the international exhibition of contemporary art ArtParis (Grand Palais, Paris), the international art fair Art Bahrain Across Borders 2019 (Bahrain).

scholarly journals INTERVIEW WITH THE EXECUTIVE DIRECTOR OF THE MOSCOW MUSEUM OF MODERN ART, VICE PRESIDENT OF THE RUSSIAN ACADEMY OF ARTS, VASILY TSERETELI

2020 ◽  
Vol 16 (3) ◽  
pp. 10-20
Author(s):  
Maria Burganova ◽  
Vasili Tsereteli
Keyword(s):  
Russian Federation ◽  
Executive Director ◽  
Modern Art ◽  
Vice President ◽  
Museum Of Modern Art ◽  
Cultural Space ◽  
International Council ◽  
International Exhibitions ◽  
The World ◽  
The Russian Federation

The journal traditionally opens with an academic interview.In this issue, we present Vasily Tsereteli - Executive Director of the Moscow Museum of Modern Art, a Commissioner of the Ministry of Culture of the Russian Federation at International Exhibitions in Venice, Vice President of the Russian Academy of Arts, member of the Presidium of International Council of Museums, artist, photographer, who kindly agreed to answer questions from Maria Burganova, the Editor in chief of The Burganov House. The Space of Culture journal. Spring and summer of 2020 were not easy all over the world due to the COVID-19 pandemic, which has affected the cultural space, the museum community, and artists. In these challenging conditions, the Moscow Museum of Modern Art has managed to find new forms of interaction between art and the viewer

Page as alternative space redux: artists’ magazines in the 21 st century

2013 ◽  
Vol 38 (3) ◽  
pp. 10-17
Author(s):  
David Senior
Keyword(s):  
Digital Media ◽  
Contemporary Art ◽  
Art History ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Art And Design ◽  
The Past ◽  
Production And Distribution ◽  
New Challenges ◽  
Selection Of

In the past few years, several new publications and exhibitions have presented surveys of the genre of artists’ magazines. This recent research has explored the publication histories of individual titles and articulated the significance of this genre within contemporary art history. Millennium magazines was a 2012 exhibition at the Museum of Modern Art that traced the artists’ magazine into the 21st century. The organizers, Rachael Morrison and David Senior of MoMA Library, assembled a selection of 115 international tides published since 2000 for visitors to browse during the run of the exhibition and created a website as a continuing resource for information about the selected tides. The exhibition served as an introduction to the medium for new audiences and a summary of the active community of international artists, designers and publishers that still utilize the format in innovative ways. As these projects experiment with both print and digital media in their production and distribution of content, art libraries are faced with new challenges in digital preservation in order to continue to document experimental publishing practices in contemporary art and design.

THE LOCARNO SYSTEM: DECLINE AND BRITISH ATTEMPTS AT MODIFICATION, 1935-1937 (THROUGH THE LENS OF IVAN MAISKY’S "DIPLOMAT’S DIARY")

2020 ◽  
Vol 2 (3) ◽  
pp. 20-28
Author(s):  
ELENA KHAKHALKINA ◽  
◽  
EVGENY TROITSKIY
Keyword(s):  
Foreign Policy ◽  
Great Britain ◽  
International Relations ◽  
Russian Federation ◽  
British Politics ◽  
International Crises ◽  
The United Kingdom ◽  
European System ◽  
History Of ◽  
The Russian Federation

The Diary of Ivan Maisky, a diplomat, Soviet Envoy (later Ambassador) to the United Kingdom from 1932 to 1943 is one of the valuable sources on the interwar history of international relations and WWII. Maisky never saw his diaries returned to him after they had been confiscated at the time of his arrest in 1953. It was declassified by the Archive of Foreign Policy of the Russian Federation and published in 2006-2009 with the commentaries of Russian scholars. The analysis of the Diary which contains unique details about Soviet-British relations casts new light on the roles of Great Britain and the USSR in the pre-war international crises and allows for a re-evaluation of the two powers’ efforts aimed at preventing or delaying the war. When the Diary is juxtaposed with the declassified British archive materials, the degree to which the British officials trusted the Soviet Envoy/Ambassador as well as the level of his awareness of the undercurrents of British politics become clearer. The authors argue that the Versailles System had failed by the mid-1920s and was replaced by the Locarno System based on the guarantees of Germany’s western borders. In the mid-1930s the Locarno System was in disarray despite British efforts to save it through concessions and the appeasement policy. The «Diplomat’s Diary» shows a struggle within the British elite between the supporters and the opponents of the appeasement policy linked with the search for a new configuration of the European system of security.

scholarly journals Color and form in the works of Konstantin Kuzminykh

2019 ◽  
Author(s):  
Ольга Ивановна Зотова
Keyword(s):  
Contemporary Art ◽  
Russian Federation ◽  
Russian Far East ◽  
Far East ◽  
Creative Work ◽  
The Russian Federation ◽  
Factor Of Influence ◽  
The Russian Far East

Творчество заслуженного художника Российской Федерации, академика Российской академии художеств Константина Кузьминых рассматривается как заметное явление в современном искусстве Дальнего Востока России. Исследуется эволюция авторского видения и выработка характерных приемов, в которых автор делает акцент на цветовых и формальных качествах художественного произведения. Также рассматриваются основные темы в творчестве художника, в числе которых библейские мотивы, этнографические особенности территории как фактор влияния на образный строй произведения, мотивы азиатских культур. The creative work of the Honored artist of the Russian Federation, academician of the Russian Academy of arts Konstantin Kuzminykh is considered as a noticeable phenomenon in the contemporary art of the Russian Far East. The author investigates the evolution of the author's vision and the development of characteristic techniques in which the artist focuses on the color and formal qualities of the artworks. The author also considers the main themes in the artist's work, including biblical motifs, ethnographic features of the territory as a factor of influence on the figurative structure of the work, the motives of Asian cultures.

Documenting the art of our time: a new research facility for The Museum of Modern Art, New York

2007 ◽  
Vol 32 (4) ◽  
pp. 22-28
Author(s):  
Milan R. Hughston
Keyword(s):  
New York ◽  
Contemporary Art ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Research Facility ◽  
Museum Archives ◽  
New Space ◽  
New Research ◽  
Building Project ◽  
Research Resources

The Museum of Modern Art’s ten-year building project provided new, purpose-built spaces for the library and museum archives, one of the world’s premier research resources documenting modern and contemporary art. This article summarizes the planning and implementation of the new space and reflects on its successes after six months of operations.

An Introduction to Jere Abbott's Russian Diary, 1927–1928

October ◽  
2013 ◽  
Vol 145 ◽  
pp. 115-124
Author(s):  
Leah Dickerman
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Smith College ◽  
Cultural Life ◽  
Travel Diaries ◽  
Founding Director ◽  
Soviet Russia ◽  
Deep Interest ◽  
The Revolution

In 1978, in its seventh issue, October published the travel diaries written by Alfred H. Barr, Jr., who would go on to become the founding director of the Museum of Modern Art, during his two-month sojourn in Russia in 1927–28. They were accompanied by a note from Barr's wife, Margaret Scolari Barr, who had made the documents available, and an introduction written by Jere Abbott, an art historian and former director of the Smith College Museum of Art who had returned to his family's textile business in Maine. Abbott and Barr had made the journey together, traveling from London in October 1927 to Holland and Germany (including a four-day visit to the Bauhaus) and then, on Christmas Day 1927, over the border into Soviet Russia. Abbott, as Margaret Barr had noted, kept his own journal on the trip. Abbott's, if anything, was more detailed and expansive in documenting its author's observations and perceptions of Soviet cultural life at this pivotal moment; and his perspective offers both a complement and counterpoint to Barr's. Russia after the revolution was largely uncharted territory for Anglophone cultural commentary: This, in combination with the two men's deep interest in and knowledge of contemporary art, makes their journals rare documents of the Soviet cultural terrain in the late 1920s. We present Abbott's diaries here, thirty-five years after the publication of Barr's, with thanks to the generous cooperation of the Smith College Museum of Art, where they are now held.

scholarly journals ‘NATIONAL COLLECTIONS OF CONTEMPORARY ART’: PROGRAMME OF THE MINISTER OF CULTURE AND NATIONAL HERITAGE TO FINANCE PURCHASES OF CONTEMPORARY ART WORKS IN 2011–2019 PART 1. HISTORY: FINANCING

Muzealnictwo ◽  
2021 ◽  
Vol 62 ◽  
pp. 227-235
Author(s):  
Wojciech Szafrański
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Museum Collections ◽  
Art Collections ◽  
National Heritage ◽  
Art Works ◽  
Museum Of Contemporary Art ◽  
The Times ◽  
The One

The ‘National Collections of Contemporary Art’ Programme run by the Ministry of Culture and National Heritage (MKiDN) in 2011–2019 constituted the most important since 1989 financing scheme for purchasing works of contemporary art to create and develop museum collections. Almost PLN 57 million from the MKiDN budget were allocated by means of a competition to purchasing works for such institutions as the Museum of Modern Art in Warsaw (MSN), Museum of Art in Lodz (MSŁ), Wroclaw Contemporary Museum (MNW), Museum of Contemporary Art in Cracow (MOCAK), or the Centre of Polish Sculpture in Orońsko (CRP). The programme in question and the one called ‘Signs of the Times’ that had preceded it were to fulfil the following overall goal: to create and develop contemporary art collections meant for the already existing museums in Poland, but particularly for newly-established autonomous museums of the 20th and 21st century. The analysis of respective editions of the programmes and financing of museums as part of their implementation confirms that the genuine purpose of the Ministry’s ‘National Contemporary Art Collections’ Programme has been fulfilled.

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