(Through works in a variety of media, 18 post-Perestroika ...)
Through works in a variety of media, 18 post-Perestroika artists vigorously challenge the old Soviet State's depiction of women.
(Tupitsyn challenges the view that the Soviet avant-garde ...)
Tupitsyn challenges the view that the Soviet avant-garde peaked in the 1920s and was subsequently forced to conform with Bolshevik politics. Instead she asserts that photography during this period represented the last "great experiment" in the search for the most effective ways to connect art, radical politics, and the masses. Investigating the means by which the new visual tools for disseminating revolutionary messages were adapted to the needs of Stalinist propaganda, Tupitsyn relates major examples of single-frame photography and photomontage to such events as the implementation of the New Economic Policy, Lenin's death, and Stalin's first and second Five-Year Plans, and to mounting censorship of the arts. She also establishes a link between the writings of critics and the development of photography and photomontage at this time. The book presents previously unpublished material from Klutsis's letters, Rodchenko's public lectures, Lissitzky's late writings on the mass media, and Kulagina's personal diaries, as well as many previously unknown photographs.
(Lazar Markovich Lissitzky is widely known as a Russian av...)
Lazar Markovich Lissitzky is widely known as a Russian avant-garde artist who made significant contributions to abstract art the 1920s. Until now his experiments with photography, photomontage, and graphic and exhibition designs in the 1920s and throughout the 1930s have not been documented and thoroughly analyzed. This book explores both the political and aesthetic aspects of Lissitzky's late multimedia work from his designs for the Abstract cabinet to his death in 1941.The author and the two contributors give special attention to Lissitzky's intense collaboration first with German and then with Soviet photographers, designers, and filmmakers, and they discuss how his various personal friendships and acquaintances influenced the directions he took in photography and design. The book presents photographic works by Lissitzky's and these other artists as well as some of Lissitzky's early non-objective art that foreshadows his experiments in figurative art. It also includes Lissitzky's correspondence with his Western colleagues and his wife Sophie Kueppers.
(Russian Painter Kazimir Malevich (1878-1935), unlike othe...)
Russian Painter Kazimir Malevich (1878-1935), unlike other prominent Soviet artists, has not been much considered in discussions of the contributions of the avant-garde to photography and film. Yet a close examination of theoretical and practical aspects of Malevich's oeuvre not only places him fully in the Soviet post-abstract discourse on these media but also, as Margarita Tupitsyn argues in this book, alters the accepted view of his post-Suprematist period. Exploring Malevich's involvement with film for the first time, Tupitsyn draws on little-known writings about cinema by the artist himself, newly accessible works, and many previously unpublished photographs and documents. Malevich's influence on twentieth-century art extends far more widely than has been claimed for him before, the author concludes. The book begins with a re-evaluation of Malevich's most famous painting, Black Square, a work whose meaning and function was in constant flux. Through Black Square Malevich began to cross the bridge from the painting medium to mechanically generated production, ultimately influencing the post-revolutionary phase of his Suprematism and leading to his abandonment of abstraction in the late 1920s. Tupitsyn discusses in detail Malevich's writing about the cinema, the cinematic qualities of some of his works, the work of other contemporary artists with bonds to cinematography, and the significant impact of Malevich's thought and work on Russian, European, and American artists of the 1920s and 1930s as well as the post-war period. This book is the catalogue for an exhibition that opens in Lisbon at the Fundacao Centro Cultural de Belem in May 2002, then travels to Spain.
(Between the Public and the Private is the first English-l...)
Between the Public and the Private is the first English-language publication to address the work of the pioneering Constructivist artist, designer, photographer and photomontagist Gustav Klutsis. Unlike the work of fellow members of the Soviet avant garde, such as Aleksandr Rodchenko and El Lissitsky, Klutsis's extensive and innovative output has remained relatively unexplored. This catalogue also presents the groundbreaking but largely unknown work of Valentina Kulagina, Klutsis's wife and colleague, and explores the creative partnership that existed between the two artists. In addition to a scholarly text by curator Margarita Tupitsyn, a leading scholar of Russian art and photography who has had access to the artists' family archives, Between the Public and the Private presents, for the first time in any language, translated excerpts from Klutsis's letters and Kulagina's diaries, offering new insight on the artists and the political and cultural climate in which they were working.
Tupitsyna graduated from School of the City University of New York with Doctor of Philosophy degree in 1996.
Tupitsyna was the curator of Contemporary Russian Art Center of America in New York City from 1981 to 1983, where she organized the first exhibitions of Moscow Conceptualism including Russian New Wave, she also worked on the Norton Dodge collection there. Margarita began to write about and organize exhibitions of contemporary Soviet art in the late 1970s. In 1986, she curated an exhibition of Sots Art at the New Museum of Contemporary Art and published the first theoretical account of this movement.
During the perestroika era (1987-1993), she published Margins of Soviet Art, 1989, a survey of Soviet post-modernist art, and curated such exhibitions as The Green Show at Exit Art, After Perestroika: Kitchenmaids or Stateswomen, Independent Curators, New York, and co-curated Between Spring and Summer at ICA, Boston. At the same time, she began to study the last phase of the Soviet avant-garde, particularly such media as photography and photomontage. In 1990, she co-curated Montage and Modern Life and in 1992, The Great Utopia, a major exhibition of the Soviet avant-garde in New York’s Guggenheim Museum.
She worked as a visiting curator at Sprengel Museum in Hanover, for two years from 1996. At Rutgers University Tupitsyna served as a visiting professor from 1996, as well.
In 1996, Margarita published The Soviet Photograph: 1924-1937 with Yale University Press and in 1997 published Kriticheskoe Opticheskoe, a collection of essays on contemporary Soviet art. Her book Alexander Rodchenko: The New Moscow is forthcoming from Schirmer/Mosel Verlag and she is preparing a book and an exhibition El Lissitzky: Beyond the Abstract Cabinet.
Her many exhibitions include Sots Art and Apt Art, The New Museum of Contemporary Art, New York; The Green Show, Exit Art, New York; Between Spring and Summer: Soviet Conceptual Art in the Era of Late Communism (co-curated), ICA, Boston and a lot of others.
As an art critic and scholar, Tupitsyna has contributed to many exhibition catalogues and anthologies including Documents of Contemporary Art (Whitechapel and the MIT Press) and The Museum of Modern Art’s Object-Photo. Modern Photographs 1909–1949: The Thomas Walther Collection.
She has written art criticism for Flash Art, Artforum, Art Journal, and Art in America.
In 2015, Tupitsyna curated the Russian Pavilion at the 56th Venice Biennale.
(Between the Public and the Private is the first English-l...)2008
(Russian Painter Kazimir Malevich (1878-1935), unlike othe...)2002
(Tupitsyn challenges the view that the Soviet avant-garde ...)1996
(Lazar Markovich Lissitzky is widely known as a Russian av...)1999
(Through works in a variety of media, 18 post-Perestroika ...)1993
(A collection of articles about Russian Nonconformists.)1997
Tupitsyna married Victor Tupitsyn on June 22, 1973. They have a daughter - Maria.