Reclaiming And Redefining American Exhibitions Of Russian Art

This book examines the history of American exhibitions of Russian art in the twentieth century in the context of the Cold War. Because this history reflects changes in museological theory and the role of governments in facilitating or preventing intercultural cooperation, it uncovers a story that is far more complex than a chronological listing of exhibition names and art works. Roann Barris considers questions of stylistic appropriations and influences and the role of museum exhibitions in promoting international and artistic exchanges. Barris reveals that Soviet and American exchanges in the world of art were extensive and persistent despite political disagreements before, during, and after the Cold War. It also reveals that these early exhibitions communicated contradictory and historically invalid pictures of the Russian or Soviet avant-garde. The book will be of interest to scholars working in art history, museum studies, and Russian studies.

This book examines the history of American exhibitions of Russian art in the twentieth century in the context of the Cold War. Because this history reflects changes in museological theory and the role of governments in facilitating or preventing intercultural cooperation, it uncovers a story that is far more complex than a chronological listing of exhibition names and art works. Roann Barris considers questions of stylistic appropriations and influences and the role of museum exhibitions in promoting international and artistic exchanges. Barris reveals that Soviet and American exchanges in the world of art were extensive and persistent despite political disagreements before, during, and after the Cold War. It also reveals that these early exhibitions communicated contradictory and historically invalid pictures of the Russian or Soviet avant-garde. The book will be of interest to scholars working in art history, museum studies, and Russian studies.

Documents the dispersal of Russian art in the United States, beginning with the works exhibited at the Louisiana Purchase Exposition in St. Louis in 1904.

The exhibition is in part made in homage to Camilla Gray, the great critic, author, curator and champion of Russian Art. Her major book 'The Great Experiment - Russian Art' was published in 1962, one of the first comprehensive publications on the subject. The exhibition also serves as a tribute to the late Annely Juda, founder of the gallery, who was widely recognised as a key figure in bringing these artists to the British public's attention.

Soviet Studies 900823

Statements by Russian artists and critics presented together with concise commentaries reveal the problems and ideology of early-twentieth-century Russian art.