ARTS & SOCIETIES
 

LETTER OF SEMINAR 31

Centre d’Histoire de Sciences Po

 
 
 

NEW SOVIET FASHIONS


Sovietskaya (Tverskaya) Square), Mossoviet building being moved. 1939. Shchoussev Museum).


Elisabeth Essaïan
Urban Planning During the Stalinist Period Tested by Economic Reality

Cécile Pichon-Bonin
The Role of the Economy in Soviet Pictorial Art During the 1920s and 1930s

Valérie Pozner
For an Economic History of Soviet Cinema



Editorial Director: Laurence Bertrand Dorléac
Editorial Staff: Elodie Antoine and Cécile Pichon-Bonin
Translator: David Ames Curtis

PREVIOUS LETTERS

THE INFLUENCE OF THE SAINT-SIMONIANS AND THE IDEA OF ART IN THE VANGUARD OF THE SOCIAL REFORM

BODY MORALITY

DANDIES

The Model Child

THE BEAUTIFUL AND THE USEFUL

Photographs by amateurs

The market, at the start

art in the republic

the voyage of the avant-gardes

Major exhibitions

WHAT IS SOCIAL ART ?

PRIMITIVISMS

realisms

JOSEPHf? BEUYS : A SHAMAN'S FACTORY ?

the Artist and the philosopher

appropriations

THE OPACITIES OF THE TECHNOLOGY

Alternatives to the art market in new york

genius

PREHISTORIES

POSTWAR

MONEY

Icons

THE POWER OF ARTISTS

values in formation

nominalism

ANCIENT ROME

ON EVALUATION

 




 
EDITORIAL

 


        
 
       Our knowledge of Russia and the USSR is no longer in focus. That is the conclusion delivered here by three researchers who offer us a historiographical overview of painting, film, architecture, and urban planning. In their company, we exit a history centered around the decryption of ideological messages effectively imposed by the state apparatus. It is henceforth a question of artistic practices, commissions, markets, sales and resales, distribution, ways of exhibiting works, audiences, and artworks that avoid the model of propagandistic rhetoric out of a concern, in particular, for economic profitability. This economic question thus weighs heavily on everything, including fields in which this dimension had been left out under the pretext that capitalism had officially been banished.


Laurence Bertrand Dorléac



Letter published with the support of the Foundation of France

Contact