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figure 1 Viktor Popkov , Stroiteli Bratska [ The Builders of Bratsk ], 1960-61, oil on canvas, 183 × 302 cm, State Tretyakov Gallery, Moscow. The artists representing Soviet art at the 31st Venice Biennale come from a variety of nationalities and generations. Their work clearly

In: Experiment
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Abstract

Based on previously unpublished archive material, the text details the troubled organization of the Russian Hall commissioned by Sergei Diaghilev for the Venice Biennale of Fine Arts in 1907. Its focus is on the correspondence between the “Esposizione”’s Secretary General, Antonio Fradeletto, and Diaghilev, a discourse saturated by national stereotypes and mutual ignorance, which, because of mistrust and deep incompatibilities, ends up relying on a wide network of mediators, among which figure international diplomats and socialites.

In: Experiment
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New Aspects of British Sculpture , which was part of the British pavilion at the 1952 Venice Biennale. The contributing artists were Robert Adams (1917-1984), Kenneth Armitage (1916-2002), Reg Butler (1913-1981), Lynn Chadwick (1914-2003), Geoffrey Clarke (1924-2014), Bernard Meadows (1915

In: War and Art
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New Aspects of British Sculpture , which was part of the British pavilion at the 1952 Venice Biennale. The contributing artists were Robert Adams (1917-1984), Kenneth Armitage (1916-2002), Reg Butler (1913-1981), Lynn Chadwick (1914-2003), Geoffrey Clarke (1924-2014), Bernard Meadows (1915

In: War and Art
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1918-1923. Somewhat later, it is true, members of the committee which prepared the Russian section for the Venice Biennale of 1924 saw a number ofBoris Ender's works from the Petrograd exhibition. But how concerned with esthetic issues could they have been in such a situation? The Muscovites placed

In: Experiment
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entrusted the Academy with organizing the Soviet section of the XIV Venice Biennale - the first major display of So- viet art in the West - which enjoyed great moral and material success. Of all the foreign sections at the Venice show, the Soviet section took first place in number of paintings sold and in

Open Access
In: Experiment

organized important exhibitions abroad, including the Soviet pavilions for the Venice Biennales in 1924 and 1928 and "L'Exposition internationale des arts decoratifs et industriels" in Paris in 1925. Two years later RAKhN organized the Soviet section of the exhibi- tion of decorative and applied arts in

Open Access
In: Experiment

strong historical plinth to base its exist- ence upon, but its cultural impact on the world stage is not solely about its past identity. The Venice Biennale of both Art and Architecture is just one of the many features which showcase fu- ture vision and talent to the world with Venice being its host

In: Multiple Mediterranean Realities

, assertive areas of black, contained within the circle, appear to exercise a centrifugal impact on the rectilinear forms "moving" along the diagonal axis from lower left 26. One of them was recently reconstructed in the historical section of the Venice Biennale, July-Oct. 1976. 166 toward upper right

In: The Soviet and Post-Soviet Review
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international contemporary art forums such as the Venice Biennale (1993), the Istanbul Biennale (1992, 1994), the Sao Paulo Biennale (1994), and Manifesta in Rotterdam (1996). In 1997 the first (and so far the only) review article on contemporary Bulgarian art was published in the authoritative magazine Art in

In: Southeastern Europe