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"Socialist realism in art."
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Automatic for the masses
InAutomatic for the Masses, Petre M. Petrov offers a novel, theoretically informed account of the transition from modernism to Socialist Realism, tracing their connections through Modernist notions of agency and authorship.
eBook
North Korean Art
North Korean Art: Paradoxical Realism at the 2018 Gwangju Biennale is an exhibition that reflects the culmination of an eight-year exploration into the art of the Democratic People's Republic of Korea (DPRK). During that time, BG Muhn made nine research trips to the DPRK to pursue a growing passion for the uniqueness and mystery surrounding Chosonhwa, the North Korean name for traditional ink wash painting on rice paper. The DPRK is notably the only country in the world after the fall of the Soviet Union in 1991 that continues to create Socialist Realism art. This exhibition is likely the first opportunity for people around the world to see North Korean Chosonhwa in such a broad range of images within Socialist Realism art.
eBook
Automatic for the masses : the death of the author and the birth of Socialist realism
\"At the end of the 1920s, the Modernist and avant-garde artistic programmes of the early Soviet Union were swept away by the rise of Stalinism and the dictates of Socialist Realism. Did this aesthetic transition also constitute a conceptual break, or were there unseen continuities between these two movements? In Automatic for the Masses, Petre M. Petrov offers a novel, theoretically informed account of that transition, tracing those connections through Modernist notions of agency and authorship. Reading the statements and manifestos of the Formalists, Constructivists, and other Soviet avant-garde artists, Petrov argues that Socialist Realism perpetuated in a new form the Modernist \"death of the author.\" In interpreting this symbolic demise, he shows how the official culture of the 1930s can be seen as a perverted realization of modernism's unrealizable project. An insightful and challenging interpretation of the era, Automatic for the Masses will be required reading for those interested in understanding early Soviet culture.\"-- Publisher's website.
Book
Stalin’s PowerPoint
PowerPoint slides are at the bottom of that list, with 12 data points, followed only by the Soviet daily Pravda, with average data density of five.\\n Foucault is therefore forced into the difficult position of describing broad social changes without having a coherent model of their influence or propagation.24 My brief response to the dilemma begins with an obvious observation. \"27 And then again, it seems appropriate to quote Joseph Brodsky writing about a later period of Soviet history: \"In a centralized state all rooms look alike: the office of my school's principal was an exact replica of the interrogation chambers I began to frequent some five years later [...] and those stuccoed walls of my classrooms, with their blue horizontal stripe at eye level, [ran] unfailingly across the whole country, like the line of an infinite common denominator.
Journal Article
Utopianism and us: 'Call of the Avant-Garde' at Heide
'Call of the Avant-Garde: Constructivism and Australia Art' was presented in three parts. The first (the original early twentiethcentury Russian material) and third (the Australian work post- 1980) were interwoven through the main building at Heide. The second section (of mid-century Australian examples) was sited in the smaller 'Heide II', where the domestic scale fitted it well.
Journal Article
Utopianism and us: 'Call of the Avant-Garde' at Heide
'Call of the Avant-Garde: Constructivism and Australia Art' was presented in three parts. The first (the original early twentiethcentury Russian material) and third (the Australian work post- 1980) were interwoven through the main building at Heide. The second section (of mid-century Australian examples) was sited in the smaller 'Heide II', where the domestic scale fitted it well.
Journal Article
Masterworks : Socialist Realism of the GDR. Christ Refuses to Obey, 1986
'1000 Masterpieces from the Great Museums of the World' is one of the most successful TV series about art. The original, with improved image quality, takes us on a fascinating journey through the history of art. Comprehensively illustrated and compellingly presented: the well-known authors of five short art surveys provide a deeper insight into the masterpieces of painting. Naturalism, party loyalty, and being close to the people: over the course of 40 years, 'Socialist Realism' was decreed by GDR authorities with all manner of propagandistic slogans. Among the central figures of the art scene were Sitte, Mattheuer, Tubke, Heisig, and Metzkes. They drew their personal artistic positions and diverse means of expression from the tension between conformity and rebellion. Willi Sitte: MY PARENTS FROM THE AGRICULTURAL CO-OPERATIVE (I), 1962 Wolfgang Mattheuer: HORIZON (1970) Harald Metzkes: THE REMOVAL OF THE SIX-ARMED GODDESS (1956) Bernhard Heisig: CHRIST REFUSES TO OBEY (1986) Werner Tubke: RECOLLECTIONS FROM THE LIFE OF JUDGE SCHULZE III (1965).
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