How the public image of the Soviet cosmonaut was designed and reimagined over time In this book, Cathleen Lewis discusses how the public image of the Soviet cosmonaut developed beginning in the 1950s and the ways this icon has been reinterpreted throughout the years and in contemporary Russia. Compiling material and cultural representations of the cosmonaut program, Lewis provides a new perspective on the story of Soviet spaceflight, highlighting how the government has celebrated figures such as Yuri Gagarin and Valentina Tereshkova through newspapers, radio, parades, monuments, museums, films, and even postage stamps and lapel pins. Lewis’s analysis shows that during the Space Race, Nikita Khrushchev mobilized cosmonaut stories and images to symbolize the forward-looking Soviet state and distract from the costs of the Cold War. Public perceptions shifted after the first Soviet spaceflight fatality and failure to reach the Moon, yet cosmonaut imagery was still effective propaganda, evolving through the USSR’s collapse in 1991 and seen today in Vladimir Putin’s government cooperation for a film on the 1985 rescue of the Salyut 7 space station. Looking closely at the process through which Russians continue to reexamine their past, Lewis argues that the cultural memory of spaceflight remains especially potent among other collective Soviet memories.
The most comprehensive book on the work of Liza Lou, whose popular and critically acclaimed installations made entirely of beads consider the important themes of women, community, and the valorization of labor. Liza Lou first gained attention in 1996 when her room-sized sculpture Kitchen was shown at the New Museum in New York. Representing five years of individual labor, this groundbreaking work subverted standards of art by introducing glass beads as a fine art material. The project blurred the rigid boundary between fine art and craft, and established Lou's long-standing exploration of materiality, process, and beauty. Working within a craft métier has led the artist to work in a variety of socially engaged settings, from community groups in Los Angeles, to a collective she founded in Durban, South Africa. Over the past fifteen years, Lou has focused on a poetic approach to abstraction as a way to highlight the process underlying her work. In this comprehensive volume that considers the entirety of Lou’s singular vision, curators, art historians, and artists offer important perspectives on the breadth of the work.
Tony Conrad (1940-2016) was a pioneering American avant-garde video artist, experimental filmmaker, musician, composer, sound artist, teacher, and writer.Throughout his six-decade career he forged a unique path through numerous artistic movements and defined a vast range of culture, including rock music and public access television.In music, Conrad was an early member of the Theatre of Eternal Music (The Dream Syndicate), which included John Cale and La Monte Young. In the early 1960s he was also influential in the origins of the iconic band, The Velvet Underground. In film, Conrad was associated with the Structuralist movement which included filmmakers such as Paul Sharits and Hollis Frampton.This richly illustrated catalogue offers an in-depth introduction to Conrad's life and career: presenting his early Structuralist films projects in which he treated film as a sculptural and performative material; his Invented Acoustical Tools which presented as sculptures themselves; the ambitious films about power relations, set in the military and in prison; and his final sculptures and installations, which evoke and critique what he perceived as an emerging culture of surveillance, control, and containment.This book also includes Conrad's own writings writings from 1966 to 2016, as well as texts by curators, theorists and notable artists such as Tony Oursler, Christopher Müller, and Christopher Williams.Accompanying the exhibition, Introducing Tony Conrad: A Retrospective at Albright-Knox Art Gallery, Buffalo, New York (2018), MIT List Visual Arts Center and Carpenter Center for Visual Arts, Harvard University (2018/2019), and ICA, University of Pennsylvania (2019).
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