Slavic Languages and Societies Commons^™

Investigating The Relationship Between Noun Classes And Plant Folk Taxonomy In Chasu Language Of Kilimanjaro Region In Tanzania, Peter Rabson Mziray

Journal of Humanities and Social Sciences

The current study investigates the relationship between noun classes and plant folk taxonomy in Chasu (G 22). The study focuses on two objectives: the first objective is to describe the plant folk taxonomy in Chasu and the second objective is to determine the relationship between noun classes and plant folk taxonomy in Chasu. Data were collected from rural villages in Same and Mwanga districts by using free listing, field interviews (jungle-walk-and-identify), and written texts containing Chasu plant names. The findings reveal that Chasu folk taxonomy reflects different ethnobotanical categories; including a unique beginner which is mmea/mimea ‘plant(s)’, and three life …

Molding The Mass Viewer: New Insights Into The Early Soviet Art System, Wendy Salmond

Art Faculty Articles and Research

"Monographs on the visual culture of the Soviet period are infrequent enough that the appearance of two in one year is a cause for celebration. Chicago University Press has published long-awaited books on El Lissitzky (1890–1941) and Aleksandr Deineka (1899–1969), contemporaries who occupied very different spheres in the early Soviet art system and different niches within the historiography of Soviet art. Designer and architect Lissitzky was an acclaimed member of the international avant-garde, while the figurative painter and graphic artist Deineka is still relatively little known outside the context and cliches of Socialist Realism. Only rarely did their paths cross …

Craftivism Between Nationalism And Activism In Ukraine And Belarus, Alla Myzelev

Art History

This article outlines the history and significance of Craftivism in Eastern Europe. Using two case studies of artists it investigates the use of the craft language in Eastern Europe and its usability for activism. Do-It-Yourself culture, of which Craftivism is part, rejects the commercialism, gender norms and the conventional lifestyle in the Global North. Use of crafts as a language of political and social struggle allows to convey the message in a less confrontational but nevertheless very pertinent way. The craftivism is a successful language for the feminist political struggle in the Eastern Europe.

Visual Displays In Space Station Culture: An Archaeological Analysis, Justin St. P. Walsh, Alice C. Gorman, Wendy Salmond

Art Faculty Articles and Research

We offer an archaeological analysis of the visual display of “space heroes” and Orthodox icons in the Russian Zvezda module of the International Space Station (ISS). This study is the first systematic investigation of material culture at a site in space. The ISS has now been continuously inhabited for 20 years. Here, focusing on the period 2000–2014, we use historic imagery from NASA archives to track the changing presence of 78 different items in a single zone. We also explore how ideas about which items are appropriate for display and where to display them originated in earlier Soviet and Russian …

Material Encounters: Making Memory Beyond The Mind, Ariel Wills

Masters Theses

Can acts of making carry the memories of our embeddedness within the world? This thesis explores how making things can nurture a sense of kinship that cuts across the organic and inorganic, erasing the distinction between living and dead, material and spiritual. Through handwork such as art-making, sewing, knitting, cooking, woodworking, and beyond, the burden of remembering and of archiving is shared across human and non-human bodies, cultivated through practices of making, and through the materials themselves. By recounting the stories of my family’s experience as Jewish immigrants in the United States, I aim to reveal how their domestic practices …

Archaeology Of The International Space Station, Justin Walsh, Alice Gorman, Wendy Salmond

Art Faculty Data Sets

The explicit goal of the International Space Station Archaeological Project (ISSAP) is to provide an understanding of material culture as a key component of life in space, on par with the research by biomedical and psychological scholars that has been ongoing since the 1960s. We take as our inspiration a phrase first used in the National Academy of Sciences report Human Factors in Long-Duration Spaceflight, which described a crewed spacecraft as “a microsociety in a miniworld” (Lindsley 1972, 23). One of our primary methods is the cataloguing of people and elements of material culture (objects and built spaces) from photographs …

Eternity In Low Earth Orbit: Icons On The International Space Station, Wendy Salmond, Justin Walsh, Alice Gorman

Art Faculty Articles and Research

This paper investigates the material culture of icons on the International Space Station as part of a complex web of interactions between cosmonauts and the Russian Orthodox Church, reflecting contemporary terrestrial political and social aairs. An analysis of photographs from the International Space Station (ISS) demonstrated that a particular area of the Zvezda module is used for the display of icons, both Orthodox and secular, including the Mother of God of Kazan and Yuri Gagarin. The Orthodox icons are frequently sent to space and returned to Earth at the request of church clerics. In this process, the icons become part …

Viktor Vasnetsov’S New Icons: From Abramtsevo To The Paris “Exposition Universelle” Of 1900, Wendy Salmond

Art Faculty Articles and Research

This essay examines Russian artist Viktor Vasnetsov’s search for a new kind of prayer icon in the closing decades of the nineteenth century: a hybrid of icon and painting that would reconcile Russia’s historic contradictions and launch a renaissance of national culture and faith. Beginning with his icons for the Church of the “Savior Not Made by Hands” at Abramtsevo in 1880–81, for two decades Vasnetsov was hailed as an innovator, the four icons he sent to the Paris “Exposition Universelle” of 1900 marking the culmination of his vision. After 1900, his religious painting polarized elite Russian society and was …

Like Night And Day: Pavel Florenskiĭ, Igor’ Grabar’, And The Fate Of Icons In The 1920s, Wendy Salmond

Art Faculty Books and Book Chapters

"The preservation of medieval icons in the early years of Soviet power is deservedly considered one of the cultural triumphs of that iconoclastic period, when the very future of icons hung precariously in the balance. The nationalization of church property, the dissolution or destruction of so many monasteries and churches, and the pervasive mood of iconoclasm that followed the Bolshevik Revolution placed Russia’s most important icons in a precarious position. Their survival depended on the efforts of a small group of scholars and restorers operating under the aegis of NARKOMPROS’s museum and conservation wing (Glazmuseĭ in its various iterations; later …

Child’S Play: A Service Learning Project Conducted At Roroš, Nové Mešto Pod Smrkem, Sanaya Attari

Independent Study Project (ISP) Collection

For my Independent Study Project, I designed a board game for young children inspired by the service learning activities held at ROROŠ. ROROŠ is a private organization located in the town of Nové Mešto pod Smrkem, offering different activities for children which provide a meaningful use of their leisure time. For a period of three weeks, I lived in Nové Mešto with Yveta Svobodová, one of the head directors of the organization. During my stay, I partook in several activities each week and used my experiences to generate new ideas when designing the final game. The game was completed by …

Title., Douglas Miller

Electronic Theses and Dissertations

Title is a series of drawings that explores the aspects of failed projects and the complications of representation within literary and visual practices. This series is informed by preliminary drawings, marginalia, and written notations that are inherent in the formulation processes of both visual and literary compositions. Through an investigation of the 19th Century Russian author Nikolai Gogol’s unfinished novel Dead Souls, I situate this series of drawings as a means to conflate literary theories with visual representation. In this way, the Title series presents fragmentary images, texts, and digressive narratives that demonstrate intermediaries between propositional states and reconciled …

Ellis H. Minns And Nikodim Kondakov’S The Russian Icon (1927), Wendy Salmond

Art Faculty Books and Book Chapters

"Kondakov’s magnum opus [The Russian Icon] failed to win an audience. Though it appeared just in time for a surge of popular interest in Russian icons abroad, it never became the book of choice for the English-speaking public seeking a guide through the ‘dark forest’ of the icon’s history... My chapter offers some suggestions for why this crude caricature of Kondakov’s work took hold in the 1920s and became axiomatic throughout the Soviet period. In particular, it considers the role that Minns’s translation may have played, however inadvertently, in cementing this impression. Minns’s interventions in and framing of …

Migration In Slavic Village, The History Behind The Cleveland Central Catholic Ironmen., Mary C. Brondfield Mrs., Matt Aber Mr.

Migration in Global Context Symposium

This presentation is a collaborative effort by two educators from the disciplines of art and history. The PowerPoint presentation documents the the cross curricular migration themed event that explored migration in Slavic Village, Ohio. Historical speakers and visits to historical sites engaged students throughout the event. Through oral history and the visual arts students engaged in project based learning.

Risd Cabaret 1987-2000 Retrospective Program, Agnieszka Taborska, Bill Newkirk, Risd Archives

RISD Cabaret 1987-2000 Retrospective

No abstract provided.

Risd Cabaret 1987-2000 Retrospective Poster, Agnieszka Taborska, Bill Newkirk, Risd Archives

RISD Cabaret 1987-2000 Retrospective

No abstract provided.

Risd Cabaret 1987-2000 Retrospective Program, Agnieszka Taborska, Bill Newkirk, Risd Archives

RISD Cabaret 1987-2000 Retrospective

No abstract provided.

Risd Cabaret 1987-2000 Retrospective Poster, Agnieszka Taborska, Bill Newkirk, Risd Archives

RISD Cabaret 1987-2000 Retrospective

No abstract provided.

Embroidery In The Circle Of The Last Romanovs, Wendy Salmond

Art Faculty Articles and Research

This article essay examines the liturgical embroideries associated with the Empress Alexandra Fedorovna and her sister Grand Duchess Elizaveta Fedorovna. It suggests that the sisters’ needlework for sacred purposes was invested with a significance not seen in elite Russian society since the late seventeenth century. At a time when the arts of Orthodoxy were undergoing a state-sponsored renaissance, who was better suited to lead the resurgence of liturgical embroidery than the wife and sister-in-law of the Emperor, the last in a long line of royal women seeking to assert their piety and their power through traditional women’s work? In the …

Pavel Tretiakov’S Icons, Wendy Salmond

Art Faculty Books and Book Chapters

"Between 1890 and his death in 1898, the Moscow art collector Pavel Tretiakov acquired sixty-two icons of the sixteenth and seventeenth centuries. With this comparatively late entry into the world of icons, Tretiakov laid the foundation for one of the world’s greatest collections of medieval Russian paintings. Why is it, then, that Tretiakov’s icons are today so rarely mentioned and so hard to find? The most practical explanation is that they were simply swallowed up into the vast repositories of the reorganized State Tretiakov Gallery in 1930, along with thousands of icons from churches and private collections nationalized afer 1917. …

Review Of Isaak Levitan: Lyrical Landscape By Avril King, Wendy Salmond

Art Faculty Articles and Research

Wendy Salmond reviews Isaak Levitan: Lyrical Landscape by Avril King.

An Imperial Collection: Exploring The Hammers' Icons, Wendy Salmond

Art Faculty Books and Book Chapters

"Changing hands one last time, in the 1950s, for many years the icons at BJU lived as it were incognito, the details of their glamorous origins largely forgotten. Reuniting this core group-the cream of the Hammers' imperial icons--with others that passed into American museums in the 1930s allows us to appreciate the full significance of Armand and Victor Hammer's foray into marketing icons Americans.Viewed in isolation, most of their "imperial icons" are perhaps no mo than a poignant reminder of the vast destruction and dislocation of Orthodox culture during the Soviet Cultural Revolution. Taken together, however, they paint a vivid …

The Transcendent As Theatre In Roerich's Paintings, Joseph C. Troncale

Languages, Literatures, and Cultures Faculty Publications

It would not be an exaggeration to say that much of Russian artistic culture in the first two decades of the 20th century was theatricalised. The work that Russian painters did in the theatre was intimately integrated and synthesised with all of the other elements of a production. Many artists of the World of Art Movement were instrumental in revolutionising the theatrical arts in Russia at the invitation and under the direction of Sergei Diaghilev. Following the pioneering steps of Konstantin Korovin, many artists, including Nicholas Roerich, Alexander Benois, Leon Bakst, Mstislav Dobuzhinski and later the avant-garde painters Natalia Goncharova, …

Russian Art In The Second Half Of The Twentieth Century, Ekaterina Dyogot

Russian Culture

This essay concerns Russian art in the second half of the twentieth century, yet any such description requires constant reference to the Russian avant-garde and the Soviet art system. The country's isolation made Soviet art such a specific, aesthetic, and particularly institutional phenomenon that it becomes critical to any understanding of art in the post-Stalinist period.

Introduction To Visualizing Russia: Fedor Solntsev And Crafting A National Past, Wendy Salmond, Cynthia Hyla Whittaker

Art Faculty Books and Book Chapters

Wendy Salmond and Cynthia Hyla Whittaker's introduction to Visualizing Russia: Fedor Solntsev and Crafting a National Past, which "elaborates the origins of the Russian style in the 1830s and 1840s and celebrates the seminal role that Fedor Grigorevich Solntsev (1801-1892) played in its development."

Foreword To Irina Yazykova, Hidden And Triumphant: The Underground Struggle To Save Russian Iconography, Wendy Salmond

Art Faculty Books and Book Chapters

Wendy Salmond's foreword to Irina Yazykova's Hidden and Triumphant: The Underground Struggle to Russian Iconography, in which Yazykova discusses how the art of icon painting survived during years of Russian Communism and is now poised to launch a new era that reflects modern experience.

How America Discovered Russian Icons: The Soviet Loan Exhibition Of 1930-32, Wendy Salmond

Art Faculty Books and Book Chapters

On 14 October 1930, the first exhibition of Russian icons ever to take place in the United States opened at the Museum of Fine Arts in Boston. Over the next nineteen months it traveled to nine venues across the country, introducing the American public to a form of medieval painting virtually unknown outside Russia. Billed as the "Union of Soviet Socialist Republics Loan Exhibition," its avowed goal was to share with the outside world the full story of Russian icon painting's evolution from the twelfth to the nineteenth centuries, thereby adding a vital missing chapter to the history of medieval …

Russian Icons And American Money, 1928-1938, Wendy Salmond

Art Faculty Articles and Research

The article explores the marketing tactics and consumer expectations with regards to icons released in the street markets and provincial cities of Soviet Russia and acquired by American collectors from 1928-1938. These icons, including those from Byzantium in the tenth century, were seen as cultural commodities during the Russian revolution and the subsequent socialist construction. The Soviet apparatus Antikvariat was tasked with appraising the icon collections held by the Gosmuzeifond or the State Museum Reserve for exports.

Review Of The Iconostasis Of Peter The Great In The Peter And Paul Cathedral In St. Petersburg (1722-1729), Wendy Salmond

Art Faculty Articles and Research

Wendy Salmond reviews The Iconostasis of Peter the Great in the Peter and Paul Cathedral in St. Petersburg (1722-1729) by Julia Gerasimova.

The Space Of Freedom, Joseph C. Troncale

Languages, Literatures, and Cultures Faculty Publications

The exhibition, The Space of Freedom: Apartment Exhibitions in Leningrad, 1964-1986, invites visitors directly into the carefully re-created interior of a Soviet communal apartment. Within the kind of environment where the paintings first breathed freely, visitors have the opportunity to experience works by unofficial artists of the Soviet era who boldly executed and exhibited art that did not conform to the ideological prescriptions of the Communist Party of the Soviet Union. These artists had to substitute the private space of their apartments for the public space controlled and denied them by the Party. Planning and staging these exhibitions, the artists …

The Space Of Freedom: Apartment Exhibitions In Leningrad, 1964-1986, Joseph C. Troncale, Evgeny Orlov, Sergei Kovalsky

Exhibition Catalogs

The Space of Freedom: Apartment Exhibitions in Leningrad, 1964-1986

Joel and Lila Harnetl Museum of Art, University of Richmond Museums, VA

September 16 to December 3, 2006

We are very pleased to present this traveling exhibition of artwork from the collection of the Museum of Nonconformist Art, Pushkinskaya 10 Art Centre, St. Petersburg, Russia, presented within the context of a re-created "apartment" exhibition from Leningrad. [...]

To our knowledge, [...] The Space of Freedom is the first exhibition organized in the United States to focus on both the artwork shown in communal apartments and on the exhibition space of the …