'The Man Who Clashed with Khrushchev': Ernst Neizvestny in the American Press in the 1960s–1980s
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| Title: | 'The Man Who Clashed with Khrushchev': Ernst Neizvestny in the American Press in the 1960s–1980s |
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| Authors: | Irina A. Riznychok |
| Contributors: | I express my gratitude to Aleksandr Maltsev, senior researcher at the Ernst Neizvestny Art Museum (Ekaterinburg), Miroslava Hruba, Mead Art Museum (Amherst College, U.S.) for their priceless help., Благодарю за помощь в подготовке данной статьи Александра Мальцева, старшего научного сотрудника Художественного музея Эрнста Неизвестного (Екатеринбург), а также Мирославу Хруба, сотрудницу Мид Арт Музея (Колледж Амхерст, США). |
| Source: | Известия Уральского федерального университета. Серия 2: Гуманитарные науки, Vol 25, Iss 1 (2023) Izvestia. Ural Federal University Journal. Series 2. Humanities and Arts; Том 25, № 1; 58–79 Известия Уральского федерального университета. Серия 2. Гуманитарные науки; Том 25, № 1; 58–79 |
| Publisher Information: | Ural Federal University, 2023. |
| Publication Year: | 2023 |
| Subject Terms: | Fine Arts, культурные связи, Language and Literature, холодная война, 16. Peace & justice, выставки русских художников в нью-йорке, искусство русского зарубежья, СССР, США, третья волна русской художественной эмиграции, Эрнст Неизвестный, неофициальное искусство, выставки русских художников в Нью-Йорке, эрнст неизвестный, сша, изобразительное искусство, 11. Sustainability, Russian art abroad, cultural links, USSR, USA, Third Wave of Russian artistic emigration, Ernst Neizvestny, Cold War, unofficial art, exhibitions of Russian artists in New York, History (General) and history of Europe, ссср |
| Description: | This article is devoted to the reception of Ernst Neizvestny’s art by the American daily and specialised press between the 1960s and 1980s. The research focuses on constructing the heroic image of Ernst Neizvestny based on several clichйs that are well-established in American culture: a fighter for freedom in art and an oppressed artist, “an artist in exile” after emigration. This article aims to fix the changes in the reception of Ernst Neizvestny’s oeuvre by American critics and journalists at different stages of the Cold War. The interdisciplinary approach contains the social, historical, and political factors that underlie artistic practice and necessitate the use of methods from different areas of the humanities including media and cultural studies. The main sources are reviews of solo exhibitions, interviews with the artist, notes, and articles in the American press. They are supplemented by video interviews with the sculptor from the archives of the National Centre for Contemporary Art (part of the Pushkin State Museum of Fine Arts) and the Garage Museum of Contemporary Art, Neizvestny’s published correspondence, as well as historical archival materials. If in the publications of the 1960s and 1970s, the authors were most interested in the relationship between Neizvestny and the Soviet authorities, at the end of the Détente, more analytical materials on art history appeared. The author concludes that the actualisation of a particular image depended on social and political factors, changes in the international cultural landscape, and the nature of the relationship between the two superpowers. The construction of the heroic image of Neizvestny in the US media became one of the tools of anti-Soviet propaganda in the cultural confrontation. An analysis of the reception of E. Neizvestny’s artworks helps reveal the ways in which ideas about Soviet art were produced and spread in American culture during the Cold War. |
| Document Type: | Article |
| ISSN: | 2587-6929 2227-2283 |
| DOI: | 10.15826/izv2.2023.25.1.004 |
| Access URL: | https://doaj.org/article/f6a0b177992646d39ecd3d909d7a89fb https://journals.urfu.ru/index.php/Izvestia2/article/view/6722 |
| Accession Number: | edsair.doi.dedup.....9031f65c9e089634b7354efdb6aa8c43 |
| Database: | OpenAIRE |
Nájsť tento článok vo Web of Science | Abstract: | This article is devoted to the reception of Ernst Neizvestny’s art by the American daily and specialised press between the 1960s and 1980s. The research focuses on constructing the heroic image of Ernst Neizvestny based on several clichйs that are well-established in American culture: a fighter for freedom in art and an oppressed artist, “an artist in exile” after emigration. This article aims to fix the changes in the reception of Ernst Neizvestny’s oeuvre by American critics and journalists at different stages of the Cold War. The interdisciplinary approach contains the social, historical, and political factors that underlie artistic practice and necessitate the use of methods from different areas of the humanities including media and cultural studies. The main sources are reviews of solo exhibitions, interviews with the artist, notes, and articles in the American press. They are supplemented by video interviews with the sculptor from the archives of the National Centre for Contemporary Art (part of the Pushkin State Museum of Fine Arts) and the Garage Museum of Contemporary Art, Neizvestny’s published correspondence, as well as historical archival materials. If in the publications of the 1960s and 1970s, the authors were most interested in the relationship between Neizvestny and the Soviet authorities, at the end of the Détente, more analytical materials on art history appeared. The author concludes that the actualisation of a particular image depended on social and political factors, changes in the international cultural landscape, and the nature of the relationship between the two superpowers. The construction of the heroic image of Neizvestny in the US media became one of the tools of anti-Soviet propaganda in the cultural confrontation. An analysis of the reception of E. Neizvestny’s artworks helps reveal the ways in which ideas about Soviet art were produced and spread in American culture during the Cold War. |
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| ISSN: | 25876929 22272283 |
| DOI: | 10.15826/izv2.2023.25.1.004 |