Sots-art, the mock use of the Soviet ideological cliches of mass culture, originated in Soviet nonconformist art of the early 1970s. An original and provocative guide, "Endquote: Sots-Art Literature and Soviet Grand Style" examines the conceptual aspect of sots-art, sots-art poetry, and sots-art prose, and discusses where these still-vital intellectual currents may lead. "
Sots-art, the mock use of the Soviet ideological cliches of mass culture, originated in Soviet nonconformist art of the early 1970s. An original and p...
In this landmark collection, world-renowned theorists, artists, critics, and curators explore new ways of conceiving the present and understanding art and culture in relation to it. They revisit from fresh perspectives key issues regarding modernity and postmodernity, including the relationship between art and broader social and political currents, as well as important questions about temporality and change. They also reflect on whether or not broad categories and terms such as modernity, postmodernity, globalization, and decolonization are still relevant or useful. Including twenty essays...
In this landmark collection, world-renowned theorists, artists, critics, and curators explore new ways of conceiving the present and understanding art...
The collapse of the USSR seemed to spell the end of the empire, yet it by no means foreclosed on Russia's enduring imperial preoccupations, which had extended from the reign of Ivan IV over four and a half centuries. Examining a host of films from contemporary Russian cinema, Nancy Condee argues that we cannot make sense of current Russian culture without accounting for the region's habits of imperial identification. But is this something made legible through narrative alone-Chechen wars at the periphery, costume dramas set in the capital-or could an imperial trace be sought in other, more...
The collapse of the USSR seemed to spell the end of the empire, yet it by no means foreclosed on Russia's enduring imperial preoccupations, which had ...
The collapse of the USSR seemed to spell the end of the empire, yet it by no means foreclosed on Russia's enduring imperial preoccupations, which had extended from the reign of Ivan IV over four and a half centuries. Examining a host of films from contemporary Russian cinema, Nancy Condee argues that we cannot make sense of current Russian culture without accounting for the region's habits of imperial identification. But is this something made legible through narrative alone-Chechen wars at the periphery, costume dramas set in the capital-or could an imperial trace be sought in other, more...
The collapse of the USSR seemed to spell the end of the empire, yet it by no means foreclosed on Russia's enduring imperial preoccupations, which had ...
