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Exploding Tongues: Language, Art, and the Russian Avant-garde

lidantIU farAm, a play by Il'ia Zdanevich (1923)

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Contents of this tag:
1. Kruchenykh, Aleksei. Vzorvalʹ (Explodity), 2nd Ed. (1913)
4. Burliuk, D. and N., et al. Poshchechina obshchestvennomu vkusu : stikhi, proza, statʹi (A Slap in the Face of Public Taste: Poetry, Prose, Essays), 1913
5. Kruchenykh, A. Starinnaia liubov'; Bukh lesinnyi (Ancient Love; Forest Rapidly), 1913
6. Kruchenykh, Aleksei. Dve poemy Pustynniki Pustynnitsa (Two Poems: Hermits, Hermitess), 1913 Handwritten text as well as t.p., cover and 14 ill. by Goncharova are reproduced by lithography. Text written 2 columns per page, bound at right angles to gutter. Kruchenykh said that Mikhail Larionov, not Goncharova, did the cover and 1st ill. (Nikolai Khardzhiev, "K pami︠a︡ti Natalii Goncharovoĭ (1881-1962) i Mikhaila Larionova (1881-1964)." In: Iskusstvo knigi, 5. Moskva: Kniga, 1968. P. 311, note 1). Description based on print version record.
10. Sadok sudeĭ Illustrated literary miscellany. Pt. 1 (1910) includes works by D. Burli︠u︡k, N. Burli︠u︡k, A.M. Geĭ (Aleksandr Gorodetskiĭ), E. Guro, V. Kamenskiĭ, V. Khlebnikov, S. Mi︠a︡soedov, E. Nizen (Ekaterina Guro), and ill. by V. Burli︠u︡k. Pt. 2 (1913) includes works by D. Burli︠u︡k, N. Burli︠u︡k, E. Guro, V. Khlebnikov, A. Kruchenykh, B. Livshit︠s︡, V. Mayakovsky, "Milit︠s︡a", E. Nizen, and ill. by D. Burli︠u︡k, V. Burli︠u︡k, N. Goncharova, E. Guro, M. Larionov Burli︠u︡k, David, 1882-1967Burli︠u︡k, Nikolaĭ DavidovichBurli︠u︡k, Vladimir Davidovich, 1886-1917Geĭ, A. M. (Aleksandr Mitrofanovich), 1886-1914Goncharova, Natalii︠a︡ Sergeevna, 1881-1962Guro, Elena, 1877-1913Kamenskiĭ, Vasiliĭ, 1884-1961Khlebnikov, Velimir, 1885-1922Kruchenykh, A. (Alekseĭ), 1886-1969?Larionov, Mikhail Fedorovich, 1881-1964Livshit︠s︡, Benedikt, 1886-1939Mayakovsky, Vladimir, 1893-1930Mi︠a︡soedov, SMilit︠s︡aNizen, E. (Ekaterina)
11. Kravtsov, Andrei. Nagoi sredi odetykh (Naked Among the Dressed), 1914 Description based on print version record. Ill. attributed to Kamenskiĭ by Markov, to Kravt︠s︡ov by Compton (1978). Printed on paste side of leaves of colored wallpaper. Upper right corner of each leaf cut at 45-degree angle, producing 5-sided leaves with 3 short sides and 2 long. Title, place and publisher from Knizhnai︠a︡ letopisʹ. Date from Compton 1978 (Knizhnai︠a︡ letopisʹ has 1913). From an ed. of 300 (Knizhnai︠a︡ letopisʹ). Library's copy has 14 leaves, as does the copy reproduced in Compton 1977, rather than 18 as specified in Knizhnai︠a︡ letopisʹ and in Tarasenkov. Library's copy lacks first two leaves of copy in Compton 1977 (front cover with port. of Kravt︠s︡ov on verso, 1st leaf of text headed "Stikhi Kravt︠s︡ova"). It includes two leaves there absent, with Vasiliĭ Kamenskiĭ's ferroconcrete poems "Konstantinopolʹ" and "T︠S︡irk Nikitina". These poems are discussed by Janecek as part of Kamenskiĭ's Tango s korovami, another work on 5-sided sheets of wallpaper published in 1914. Both these leaves are printed on red-ground wallpaper like the others of the present copy, rather than on the ochre-ground wallpaper of Tango s korovami. The two versions of the two poems are typographically identical, except that "kamenskīĭ / vasilīĭ" appears at the upper left of "Konstantinopolʹ" in the present work.
13. Pobi︠e︡da nad solnt︠s︡em : opera A. Kruchenykh
14. Kruchenykh, A. and Khlebnikov, V. Bukh lesinnyi. (Forestly Rapid), 1913

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Book Page Project Proposals 21 Description of project options and examples of historical precedents from the Russian Avant-garde plain 2017-03-28T19:32:37-07:00
ASSIGNMENT PROMPT (DUE Tuesday, 3/28 midnight)
Students in ARTS 227 and CSLC 134 / RUSN 334 will collaborate in small groups of 2-3 students on the design, creation and use of print materials to produce one page contribution to a limited edition of a course book inspired by examples from the Russian/Soviet Avant-garde. Text can be composed in any of a variety of styles, from traditionally rhyming and metrically regular to zaum. Layout, design and distribution of text are similarly freed for expression or provocation.

Each student is required to submit a brief (paragraph-length) statement of intent in the form of a Comment submitted by clicking the Comment (speech bubble) button at the very bottom of this page (make sure to scroll past the last media window for "Tango with Cows"). Each statement should indicate which "type" of project it will be (see below), as well as any formal properties the content will have (e.g. text length, layout, graphics, imagery).

Parameters
- Groups must have at least one member from each course
- Each student must submit a proposal
- You may consult with other members of your "Flagration of Vowls" group to propose a joint project
- Projects submitted individually will be grouped by the professoriate on the basis of similarity or compatibility
- Project "types" describe a prototype or precedent, materials and method, but you do not have to emulate the suggested examples
To facilitate project work, we have to constrain the possible approaches to a reasonable number. For your proposals, please select an option from any of the three project types:
1. A simulated lithograph, using the more current "flexographic" technology using Photo Polymer Printing Plates. This method enables free-hand writing and illustration, of the sort exemplified in the famous early zaum poem, "Dyr bul shchyl," by Aleksei Kruchenykh, illustrated by Mikhail Larionov.
2. Suprematist-inspired graphics, using geometric and semi-regular shapes to compose letters, designs, and scattered decorative fragments, such as "Nash marsh" (Our March) from Dlia golosa (1923), a collection of poems by Vladimir Mayakovsky, with typographic/illustrative design by el Lissitzky.
3. Moveable type. This approach allows free and expressive arrangements of consistent or mixed type blocks, such as lidandtIU FarAm (1923), a "Dra" (dramatic play) by Il'ia Zdanevich, or Tango with Cows (1914), a collection of "ferroconcrete" poetry by Vasily Kamensky, with illustrations by David Burliuk.
For each of these methods, limited hybrids and decorative hand-work (such as rubber stamped elements), etc. can be proposed and pursued, with time, equipment and materials considered.
Square One: Production 17 A book-making collaboration between ARTS 227 "Introduction to Letterpress Printing" (Pedersen) and CSLC 134/RUSN334 "Exploding Tongues" (Gilman) gallery 2017-03-26T10:15:10-07:00
Context: Book Arts of the Russian Avant-garde
Course syllabus
Square One: Production

Group projects will require collaborative work to conceive, author, design and print page contributions to a class edition of poetry, inspired by examples from the Russian/Soviet Avant-garde. Text can be composed in any of a variety of styles, from traditionally rhyming and metrically regular to zaum. Layout, design and distribution of text are similarly freed for expression or provocation.

In order to manage project work, you may select an option from any of the three project "types":
1. A simulated lithograph, using the more current technology of flexography. This method enables free-hand writing and illustration, of the sort exemplified in the famous early zaum poem, "Dyr bul shchyl," by Aleksei Kruchenykh, illustrated by Mikhail Larionov.
2. Suprematist-inspired graphics, using geometric and semi-regular shapes to compose letters, designs, and scattered decorative fragments, such as "Nash marsh" (Our March) from Dlia golosa (1923), a collection of poems by Vladimir Mayakovsky, with typographic/illustrative design by el Lissitzky.
3. Moveable type. This approach allows free and expressive arrangements of consistent or mixed type blocks, such as Tango with Cows (1914), a collection of "ferroconcrete" poetry by Vasily Kamensky, with illustrations by David Burliuk, or lidandtIU FarAm (1923), a "Dra" (dramatic play) by Il'ia Zdanevich.
For each of these methods, limited hybrids and decorative hand-work (such as rubber stamped elements), etc. can be proposed and pursued, with time, equipment and materials considered.