5/19/2023 0 Comments Bluets nelson![]() It also attempts to measure the degree to which the reception was predicated by the repercussions of political situation of the time and the Cultural Cold War between Soviet Union and Western world. Further, this paper investigates the means and approaches that Komar and Melamid used to work with the reception of Soviet dissident artists in the United States in the late 1970. ![]() Through my analysis, I show that the distinctive characteristics of Moscow Conceptualism - romanticism and reference to the 20th Century Russian avant-garde heritage - are fully present in Komar and Melamid’s practice of this period. I argue that these works were created in accordance with the ideas and traditions of Moscow Conceptualism, as defined by Boris Groys in 1979. These four works exemplify Komar and Melamid’s simultaneous criticality of ideological Soviet propaganda on the one hand, and Western consumer culture on the other. In this thesis, I analyze four works by Komar and Melamid from the period of their immigration to the United States: Color Therapeutics (1974-1975), Circle, Square, Triangle (1974), Catalog of Super Objects – Super Comfort for Super People (1975) and We Buy and Sell Souls (1978-1979). ![]() Over the course of almost 40 years of collaboration, they created various artworks commenting on power and popular culture using a wide range of media. The Soviet-born American artists Vitaly Komar and Alexander Melamid formed their artistic partnership in Moscow in 1965. ![]()
0 Comments
Leave a Reply. |