Exploding Tongues: Language, Art, and the Russian Avant-gardeMain MenuBack to Futurism: Russian Artist BooksIntroductory Page by Chris GilmanBookENDS: A Working Theory of Textuality as Cultural Dominant, 1912-An Introduction and Conclusion to a Semester's Investigation into the Book Arts as an Avant-garde PracticeBook Case StudiesCollaborative Research by Case StudiesBig Bang: Timeline of Russian Avant-Garde Book Arts and Their Cultural ImpactsA Timeline of Russian Avant-Garde Book Arts and Their Cultural ImpactsCoaRse CaLIBrationARTS 227 "Introduction to Letterpress Printing" (Pedersen) and CSLC134/RUSN334 "Exploding Tongues" (Gilman)NthOlogyA limited edition collaborative book arts project by students of ARTS 227 (Pedersen) and CSLC 134/RUSN 334 (Gilman), Spring, '17MANIFESTERS (AB & Kelly): A portfolio of process and productsAppendix: A Path Through Russian Avant-Garde BooksChristopher Gilman1985b99a2acd541caa12a10c3ebf6896565283abDexter Blackwell92e005ca94195f836c6089cf147faff4c74fa79eZoe Foster-La Duc1c8954189fb3ee4ab6e36bfb90fae86777eab97Stephen Heim7069d17c035042745c96bc6c7619096cd7b33da4Kelly Kirklande1805e502570d093d70f00df18f145c99290d0a3Ian Lehineb028c384a69e4b92166e7791b002fa3f2cee5818Timothy Lewis13880d3d99b4b71ce85be63e69a6d44e38853d68Jmedina29ac3fc10003fb639ac412984b59b01a5b826e161Taylor Robinsonaa08dd3939f1f1c6162c5518ae531385e51659afEvan Sarafian042e10782d9a6d3f0001a4b35abb02f58ad84684Craig Dietrich2d66800a3e5a1eaee3a9ca2f91f391c8a6893490ILiADS (Institute for Liberal Arts Digital Scholarship)
Cigarette Seller on Strastnaya Square
12016-10-18T10:47:20-07:00Christopher Gilman1985b99a2acd541caa12a10c3ebf6896565283ab120412Alexander Rodchenko (Russian, St. Petersburg 1891–1956 Moscow)plain2016-11-17T10:09:58-08:00The Metropolitan Museum of Art1927Image2015.74Gelatin silver printChristopher Gilman1985b99a2acd541caa12a10c3ebf6896565283ab
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12016-11-01T10:49:32-07:00Christopher Gilman1985b99a2acd541caa12a10c3ebf6896565283abMarc Chagall and the Colors of Early Russian ModernismChristopher Gilman8An essay on the Russian Painter Marc Chagall's use of colortimeline2016-11-17T10:14:51-08:00Christopher Gilman1985b99a2acd541caa12a10c3ebf6896565283ab
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12016-11-01T10:49:32-07:00Christopher Gilman1985b99a2acd541caa12a10c3ebf6896565283abMarc Chagall and the Colors of Early Russian Modernism8An essay on the Russian Painter Marc Chagall's use of colortimeline2016-11-17T10:14:51-08:00Christopher Gilman1985b99a2acd541caa12a10c3ebf6896565283ab
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12017-02-23T11:38:06-08:00Art: Language19uTOPIAN Prospectus -- Ian R. Lehineimage_header2017-02-28T00:14:29-08:00One of the many facets of the Russian avantgarde movements that we have been investigating in this course has been the visual representations of language in various mediums. On some occasions, we are presented with hand-made books of poetry in which words presented to us are assigned additional layers of meaning by their visual presentation (orientation, size of the letter-forms, etc...). On other occasions, words appear along-side visuals and become a part of the art they accompany. Below are a few examples of such instances of language as art.
Here on the left, we are presented with an example of a painting in which words take center-stage. An almost immediate reaction to Rozanova's Metronome, is to begin trying to read these word. This could be seen as futile, as few of these "words" seem to possess any obvious quality of meaning. Words such as "АИGL", "АМЕ", and "RIQUE" seems to hint at their definitions hiding in the English, French, and Russian linguistic traditions while also suggesting that their meanings lie outside of those systems. Additionally, the meanings of those more decipherable words, "PARIS" and "ENTER" are called into question, for what's to say that the system that failed us before with the other "words" would suddenly apply? It could very well be the case that it is in this very movement to assign meanings to these "words" from these systems that their true meaning is lost.
Here, we are presented with an example of a painting in which words take center-stage. An almost immediate reaction to Rozanova's Metronome, is to begin trying to read these word. This could be seen as futile, as few of these "words" seem to possess any obvious quality of meaning. Words such as "АИGL", "АМЕ", and "RIQUE" seems to hint at their definitions hiding in the English, French, and Russian linguistic traditions while also suggesting that their meanings lie outside of those systems. Additionally, the meanings of those more decipherable words, "PARIS" and "ENTER" are called into question, for what's to say that the system that failed us before with the other "words" would suddenly apply?
12018-08-29T00:01:07-07:00Kruchenykh and Larionov2plain2018-08-29T00:02:11-07:00These guys were friends