Futurism and After


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"David Burliuk: Futurism and After 1882-1967 clearly illustrates the artist's journey through diverse countries, cultures, eras, and artistic styles. The exhibition and catalogue mirror Burliuk's life experience, a varied reflection of political revolution, social history, geographical locations, and cultural integration."--BOOK JACKET.




Russian Futurism: A History


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One Hundred Years of Futurism


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Words in Revolution


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In her extensive Introduction, Lawton has highlighted the historical development of the movement and has related futurism both to the Russian national scene and to avant-garde movements worldwide.




Explodity


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The artists’ books made in Russia between 1910 and 1915 are like no others. Unique in their fusion of the verbal, visual, and sonic, these books are meant to be read, looked at, and listened to. Painters and poets—including Natalia Goncharova, Velimir Khlebnikov, Mikhail Larionov, Kazimir Malevich, and Vladimir Mayakovsky— collaborated to fabricate hand-lithographed books, for which they invented a new language called zaum (a neologism meaning “beyond the mind”), which was distinctive in its emphasis on “sound as such” and its rejection of definite logical meaning. At the heart of this volume are close analyses of two of the most significant and experimental futurist books: Mirskontsa (Worldbackwards) and Vzorval’ (Explodity). In addition, Nancy Perloff examines the profound differences between the Russian avant-garde and Western art movements, including futurism, and she uncovers a wide-ranging legacy in the midcentury global movement of sound and concrete poetry (the Brazilian Noigandres group, Ian Hamilton Finlay, and Henri Chopin), contemporary Western conceptual art, and the artist’s book. Sound recordings of zaum poems featured in the book are available at www.getty.edu.




Russian Futurism


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"Forty years after its original publication, Vladimir Markov's Russian Futurism: A History remains the classic in its field. Its learned account of Russian avant-garde poetics with respect to various forms and genres-poems, plays, artist's books, manifestos-is still the first I turn to when I want to review the critical information about Futurist manifestos or Khlebnikov's long poems and stories, or the collaborations of Goncharova and Kruchenykh. Meticulous and thorough, Markov's book, in this new edition, will be indispensable for students of the avant-garde." - Marjorie Perloff, Sadie D. Patek Professor Emerita of Humanities, Stanford University, Scholar-in-Residence, University of Southern California, author of The Futurist Moment. "It is wonderful to have this classic study of Russian Futurism and related movements back in print. Everyone who studies Russian modernism and the avant-garde has used and benefited from it. If any single book can be called 'indispensable' for the study of a period, it is Markov's, and now further generations can have it at hand. It is a book to give the lie to the Futurist patage 'read this book and destroy ' Keep forever " - John Malmstad, Samuel Hazzard Cross Professor of Slavic Languages and Literatures, Harvard University. "The publication of Russian Futurism: A History almost forty years ago was a major cultural event. That the book is still the most accurate and comprehensive English-language directory to the literature of the Russian avant-garde testifies to the richness and prescience of Vladimir Markov's scholarship." - John Bowlt, Professor of Slavic Languages and Literatures, University of Southern California; Director, Institute of Modern Russian Culture, Los Angeles.




Futurism and Politics


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On futurism and fascism in Italy




Italian Futurism 1909-1944


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February 21-September 1, 2014 The first comprehensive overview of Italian Futurism to be presented in the United States, this multidisciplinary exhibition examines the historical sweep of the movement from its inception with F.T. Marinetti's Futurist manifesto in 1909 through its demise at the end of World War II. Presenting over 300 works executed between 1909 and 1944, the chronological exhibition encompasses not only painting and sculpture, but also architecture, design, ceramics, fashion, film, photography, advertising, free-form poetry, publications, music, theater, and performance. To convey the myriad artistic languages employed by the Futurists as they evolved over a 35-year period, the exhibition integrates multiple disciplines in each section. Italian Futurism is organized by Vivien Greene, Curator, 19th- and Early 20th-Century Art, Solomon R. Guggenheim Museum. In addition, a distinguished international advisory committee has been assembled to provide expertise and guidance.




The World Backwards


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"The British Library has recently acquired a superb and representative collection of Russian Futurist books, which form a unique record of a modern movement. Based on this material, this book surveys the complexity of Russian futurism, and proviudes an unrivalled collection of illustrations which highlight developments in theatre, graphic design, and art in the years of flowering, 1912-16"--Back cover




Reading Visual Poetry After Futurism


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Early in the century, poets expanded the possibilities of their genre by creating sound poems, by dispensing with syntax and punctuation, and by arranging words and letters across the page in new visual patterns. This book explores ways of reading the aesthetically challenging and semiotically subversive texts created by four poets: F.T. Marinetti (1876-1944), Kurt Schwitters (1887-1948) and e.e. cummings (1894-1962). The book shows us how to read these experimental texts in a variety of interrelated ways: as products of each poet's individual aesthetic, as part of the avant-garde's reaction to aestheticism, as efforts to bring art closer to life, and as attempts to c reate a new kind of semiotically and aesthetically 'open' work. The book concludes by emphasizing the individual invention of its four central figures rather than placing them in their usual roles as precursors to the concrete poetry movement of the fifties.