Shared Images
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Kirill Chunikhin
About this book
Who organized numerous exhibitions of American art in the Cold War Soviet Union – and why? Did Americans truly want to “subvert” the Soviet regime with abstraction, and were the Soviets really “afraid” of non-figurative art? And, most noteworthy, can we adequately assess the role of art as a “weapon” of the Cold War? The significance of Shared Images lies in its revision of what, to date, has been a biased, politicized approach to American art and Soviet cultural policies during the Cold War. Shared Images proposes that we write Cold War art history without merely projecting political events onto the art historical timeline and interpolating the logic of Cold War politics into cultural history. Instead, the monograph presents a careful narrative which, along with major political events, also considers individual agencies, affective regimes, and, of course, formative contexts other than the political. Exploring American art as an essentially global phenomenon, the monograph employs the concept of a “shared history” to analyze interconnections and mutual dependence of Soviet and American art histories from the late 1940s to the 1960s. Shared Images, thus, revises narratives on Soviet and American isolationism, allegedly a distinctive feature of Cold War cultures.
Author / Editor information
Kirill Chunikhin is Associate Professor at the Department of History and Head of Laboratory for Visual History at the National Research University Higher School of Economics, St. Petersburg, Russia.
Topics
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Frontmatter
I -
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Preface
V -
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Contents
IX -
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Abbreviations
XI -
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Introduction: Art Canons and the Cold War
1 - Part One: Painting by Marxism: American Art in Soviet Reflection
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Chapter 1 The Ugly Shapes of American Modernism
31 -
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Chapter 2 Laughing at the Unseen
49 -
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Chapter 3 Andrei Chegodaev, American Realism, and Marxist Illusions
71 -
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Chapter 4 At Home among Strangers: Rockwell Kent and Soviet Promotion of American Art
91 - Part Two: Reconsidering Abstraction, or the Moderate Modernism of USIA Exhibitions
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Chapter 5 Cold War Myths of Abstraction: A Critique of One Popular Idea
121 -
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Chapter 6 Objectives and Subjectivities of the American National Exhibition in Moscow, 1959
135 -
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Chapter 7 Graphic Arts: USA, 1963–1964: Ultimate Simulation
168 -
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Conclusion: American Art as Cold War Legacy
195 -
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Appendix: List of Major Exhibitions of American Visual Art in the Soviet Union from the Late 1920s to the Late 1960s
203 -
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List of Figures
204 -
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Selected Bibliography
208 -
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Name Index
218
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