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MARK KONECNY

presenting the avant-garde style of dance to the modem audience. His accompanying article, "Early Rus- sian Modem Dance: Lev Lukin and the Motobio-skul'ptury," shows how the various accounts, choreographic notes, and photographs can be used to get a sense of the original works presented in the 1910s and 1920

BRIAN POOLE

of the Neo-Kantian and Idealistic terminology still present in Shpet's thought, despite the latter's attempt to dissociate himself from certain forms of German Idealism. Shpet took his revenge by snidely lambasting Kagan's supposed "mystical communism" in 1925. In the same year Kagan reported to his

BORIS ARVATOV

sotsianalno organizuiushchie yavlenüa" to a Plenary Sessionof RAKhN on November 17, 1921. This translation is made from a typescript in a private collection, Moscow. 5. Arvatov gave his paper entitled "Teoriia izobrazitelnoi kompositsii" to the Visual Arts Sectionof RAKhN on December 9, 1925. Present were

DMITRII SARAB'IANOV

categories of art. In the 1860s, social genre dominated. It permitted art to condemn the unjust and to show sympathy for the poor. Landscape and portrait painting presented no such possibilities, because they lacked critical potential. History paint- ing, on the other hand, became a subgroup of social genre

NANCY VAN NORMAN BAER

- chetti, her former ballet master at the Imperial Theatrical School and the Ballets Russes. Separated from Nijinsky, who was interned with his wife Romola behind enemy lines in Austro-Hungary, she created her first dance pieces, presenting two solos-La Poupee (music by Anatolii Li- adov), and Autumn Song

LYNN GARAFOLA

traversed the world, ignoring borders and often the niceties of national style as weil, especially in the Salome works that no fewer than four of them-Fuller,2 Maud Allan,3 Sa- hary-Djeli 4 and Mata Hari5— presented in the decade before Worid War I. Even in the case of French-born dancers such as Jane

PETR KOGAN and AKIM KONDRATIEV

activity with the general research plan of the Academy; b) aid in the fulfillment of the Academy's scholarly enterprises and re- ceive the same in kind; c) with their own consensus take a vital part in the life of the Academy in accordance with the rules established by the Academy; d) present the Academy

KANDINSKY VASILII

all questions of art, the present discussion included, our terms are totally lacking in definition. Without exception, they are inaccurate and carry the most varied meanings. At best, this state of the so-called theory of art in- dicates just how embryonic it is, and we would be quite justified in

LORIN JOHNSON

with the emotion!* storm brought forth by music."' Critics of the 1920s were clearly grappling vith how to un- derstand the new relationship between sound and the body moving through space, and their perplexity is fascinating. When I am presented with not just dance, but with a certain realiza- tion of

NICOLETTA MISLER

, presenting Taylorism in art as the creative application of rag- time, the shimmy, and the fox-trot - and just when the Soviet establishment was issuing the first instructions on how to elimitiate the tango, the fox-trot, and "decadent bourgeois dances of Western importation" from the repertoire of workers