9788857249209 - Georgy Frangulyan: Off-Modern (10 Ergebnisse)

First Edition. First edition and first printing. Hardcover. 217 pages. Monograph on Russian artist Georgy Frangulyan. Text in English, translated from the Russian by Sasha Zubritskaya and Nikita Safonov. Features contributions by Ruth Addison and Valentin Diaconov. Includes numerous illustrations, a chronology, index and other information. A fine copy and with laid in letter presenting this book. No dust jacket as issued.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

First Edition. 27 x 27 cm 217 pp with colour and b&w illustrations throughout. Boards, fine copy.

Zustand: Very Good. No jacket. Minor wear & marks to the hardcover. Content is like new.

Zustand: New. 2023. Hardcover. . . . . . Books ship from the US and Ireland.

Hardcover. Zustand: Brand New. 240 pages. 10.75x11.00x1.02 inches. In Stock.

Orig.-Halbleinen. Zustand: Sehr gut. 217 Seiten, zahlr. Abb. Very good, fresh copy. Cover with small signs of wear. - Georgy Frangulyan has an acute sensitivity for the spaces of a city that has lost a considerable part of its built history, tha to the wholesale demolition of churches and other neighborhood-defining buildings in the 1930s. All cities evolve, bu the case of Moscow, with the architectural depredations of the Soviet government's anti-clerical campaign, around ha the city's churches were destroyed. Most others were "repurposed." Combined with the imperial architecture of Stalin and Khrushchev's adoption of modernism as an antidote to his predecessor's architectural "excesses," Moscow char beyond recognition in the course of sixty years. And that's before the icing on the cake: postmodernism (without the hum of the post-Soviet period that blighted the capital during Yuri Luzhkov's eighteen-year tenure as mayor.2 Luzhkov ush in a period of overblown public sculpture in Moscow, most of it produced by Georgian-born Zurab Tsereteli (b. 1934) enormous Peter the Great monument (1997) on the Moscow River annoys Muscovites to this day.3 Although public sculpture is (at least potentially) a lucrative option for Russian artists, it brings with it a level of closer scr than that which artists exhibiting in museums and galleries receive. Frangulyan is a well-known sculptor, and he could e have played it safe, making works that would "fit." Yet he was prepared to take risks, depicting famous subjects in unfan intriguing ways. The sculptor's sensitivity to Moscow's spaces was a rare attribute among those artists making interven in the city in recent times. Andrew Foxall, a specialist in Russian and Eurasian studies, suggested that Russia's "statues have long occupied a ce role in political life as they have been one of the few spaces of contestation and demonstration. "4 He cited St. Petersb Bronze Horseman, associated with the Decembrists,5 and Moscow's Pushkin monument, which has long been a ma for protestors and is now heavily policed. Frangulyan's works do not attract demonstrators, but they do identify spac architectural contestation-the unsettled remnants of the 1,000-year-old city-inviting the viewer to ponder each scul and its site as a whole, while often not knowing why they feel impelled to do so. Frangulyan's monument to the poet Joseph Brodsky stands on Moscow's Garden Ring. Today, "garden" is a misno at this point, Moscow's ring road is eight lanes wide. The monument is set back from the ring road at the edge of a pa feeder road, but even so Brodsky is recognizable to those driving past, as he stands in silhouette looking to the sky. T a monument to one of Russia's beloved poets, who was forcibly exiled from the Soviet Union in 1972 and never retu The monument triggers various contestations, both political and architectural. One example: most viewers will know there was competition between Moscow and St. Petersburg, the capital and the northern capital, for a monument.(from the preface) / Prefaces -- Prologue -- Introduction -- Becoming the Artist -- The Off-Modern -- Monuments -- Scaled Sculptures -- Vignettes -- Chronology -- Notes -- Primary Sources -- Index -- Acknowledgments -- Contributors. ISBN 9788857249209 Sprache: Englisch Gewicht in Gramm: 1845.

Gebunden. Zustand: New.

Buch. Zustand: Neu. Neuware - Georgy Frangulyan (b. 1945) creates monumental, classical figurative sculptures including many public works. This monograph is the first book to consider the life and work of this 'Off-modern' artist; that is, one who exists on the margins of modern art history and at the margins of error of major philosophical, economic, and technological narratives of modernization and progress. It considers his work in light of the context of Social Realism, the Cold War, the avant garde. The core of the book is a survey of 30 monumental works and sculptures as well as a thorough exploration of craftsmanship in his work, his training at the Stroganov Academy, the oldest university of applied and industrial art in Russia, his use of bronze, and the way the work exists on the periphery of the global market. Frangulyan's sculptures are in many collections: the State Tretyakov Gallery and the Pushkin Fine Arts Museum, both in Moscow, at the State Russian Museum in St. Petersburg, the Albertina Museum in Vienna, the Museo Dantesco in Ravenna, the Municipal Library of Colmar (France), the Bodleian Library at Oxford University, museums in Sofia, Bulgaria, and Berdyansk (Ukraine), the museum collections of Sochi, Tambov, and Kaliningrad (Russian Federation), as well as private collections in Italy, the US, France, Sweden, Spain, Hungary, the Czech Republic, and Bulgaria. The artist is based in Moscow, working in a studio housed in an antique wooden villa, located in the center of the city, which features a foundry and a gallery of sculpture, paintings, and drawings. The book includes prefaces by two curators associated with the Garage in Moscow, Ruth Addison and Valentin Diaconov.