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The remarkable story of seven contemporary Russian-language poets
whose experimental work anchors a thriving dissident artistic
movement opposed to both Putin’s regime and Western liberalism.
What does leftist art look like in the wake of state socialism? In
recent years, Russian-language avant-garde poetry has been seeking
the answers to this question. Marijeta Bozovic follows a
constellation of poets at the center of a contemporary literary
movement that is bringing radical art out of the Soviet shadow:
Kirill Medvedev, Pavel Arseniev, Aleksandr Skidan, Dmitry Golynko,
Roman Osminkin, Keti Chukhrov, and Galina Rymbu. While their formal
experiments range widely, all share a commitment to explicitly
political poetry. Each one, in turn, has become a hub in a growing
new-left network across the former Second World. Joined together by
their work with the Saint Petersburg–based journal [Translit],
this circle has staunchly resisted the Putin regime and its
mobilization of Soviet nostalgia. At the same time, the poets of
Avant-Garde Post– reject Western discourse about the false
promises of leftist utopianism and the superiority of the liberal
world. In opposing both narratives, they draw on the legacies of
historical Russian and Soviet avant-gardes as well as on an
international canon of Marxist art and theory. They are also
intimately connected with other artists, intellectuals, and
activists around the world, collectively restoring leftist
political poetry to global prominence. The avant-garde, Bozovic
shows, is not a relic of the Soviet past. It is a recurrent pulse
in Russophone—as well as global—literature and art. Charged by
that pulse, today’s new left is reimagining class-based critique.
Theirs is an ongoing, defiant effort to imagine a socialist future
that is at once global and egalitarian.
From the German Black Forest to the Romanian and Ukrainian shores
where it flows into the Black Sea, Europe's second longest river
connects ten countries, while its watershed covers four more. The
Danube serves as an artery of a culturally diverse geographic
region, frustrating attempts to divide Europe from non-Europe, and
facilitating the flow of economic and cultural forms of
international exchange. Yet the river has attracted surprisingly
little scholarly attention, and what exists too often privileges
single disciplinary or national perspectives. Adopting a
multidisciplinary approach to the river and its cultural
imaginaries, the anthology Watersheds: Poetics and Politics of the
Danube River remedies this neglect and explores the river as a site
of transcultural engagement in the New Europe. Contributions by
Katherine Arens, Micaela Baranello, Marijeta Bozovic, Robert
Dassanowsky, Dragan Kujund, Jessie Labov, Robert Lemon, Amanda
Lerner, Tomislav Longinovi, Juliana Maxim, Matthew D. Miller,
Robert Nemes, Tanya Richardson, Karl Solibakke, Jennifer Stob,
Henry Sussman.
An unprecedented survey of artists in exile from the 19th century
through the present day, with notable attention to Asian, Latin
American, African American, and female artists This timely book
offers a wide-ranging and beautifully illustrated study of exiled
artists from the 19th century through the present day, with notable
attention to individuals who have often been relegated to the
margins of publications on exile in art history. The artworks
featured here, including photography, paintings, drawings, prints,
and sculpture, present an expanded view of the conditions of
exile-forced or voluntary-as an agent for both trauma and
ingenuity. The introduction outlines the history and perception of
exile in art over the past 200 years, and the book's four sections
explore its aesthetic impact through the themes of home and
mobility, nostalgia, transfer and adjustment, and identity. Essays
and catalogue entries in each section showcase diverse artists,
including not only European ones-like Jacques-Louis David, Paul
Gauguin, George Grosz, and Kurt Schwitters-but also female, African
American, East Asian, Latin American, and Middle Eastern artists,
such as Elizabeth Catlett, Harold Cousins, Mona Hatoum, Lotte
Jacobi, An-My Le, Matta, Ana Mendieta, Abelardo Morell, Mu Xin, and
Shirin Neshat. Distributed for the Yale University Art Gallery
Exhibition Schedule: Yale University Art Gallery
(09/01/17-12/31/17)
Nabokov Upside Down brings together essays that explicitly diverge
from conventional topics and points of reference when interpreting
a writer whose influence on contemporary literature is unrivaled.
Scholars from around the world here read Nabokov in terms of bodies
rather than minds, belly-laughs rather than erudite wit, servants
rather than master-artists, or Asian rather than Western
perspectives. The first part of the volume is dedicated to surveys
of Nabokov's oeuvre that transform some longheld assumptions
concerning the nature of and significance of his work. Often
thought of as among the most cerebral of artists, Nabokov comes
across in these essays as profoundly aware of the physical world,
as evidenced by his masterly representation of physical movement,
his bawdy humor, and his attention to gustatory pleasure, among
other aspects of his writing. The volume's second half focuses on
individual works or phases in Nabokov's career, noting connections
among them as well as to other fields of inquiry beyond literature.
Engaged in conversation with each other and, in his editorial
comments, with Brian Boyd, the essays in this volume show Nabokov
scholarship continuing to renew itself.
Nabokov Upside Down brings together essays that explicitly diverge
from conventional topics and points of reference when interpreting
a writer whose influence on contemporary literature is unrivaled.
Scholars from around the world here read Nabokov in terms of bodies
rather than minds, belly-laughs rather than erudite wit, servants
rather than master-artists, or Asian rather than Western
perspectives. The first part of the volume is dedicated to surveys
of Nabokov’s oeuvre that transform some longheld assumptions
concerning the nature of and significance of his work. Often
thought of as among the most cerebral of artists, Nabokov comes
across in these essays as profoundly aware of the physical world,
as evidenced by his masterly representation of physical movement,
his bawdy humor, and his attention to gustatory pleasure, among
other aspects of his writing. The volume’s second half focuses on
individual works or phases in Nabokov’s career, noting
connections among them as well as to other fields of inquiry beyond
literature. Engaged in conversation with each other and, in his
editorial comments, with Brian Boyd, the essays in this volume show
Nabokov scholarship continuing to renew itself.
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