... constructivism Popova 5 × 5 = 25 Punin communist art ...

... it accessible to the masses. In this regard, emphasis is placed on the formula that Punin elaborated in his analysis of modern art (1920) and on the 1921 exhibition 5 × 5 = 25 . constructivism Popova 5 × 5 = 25 Punin communist art ...

... Communist writer Ding Ling, this chapter underscores how fascists prized the efficient creation of a singular national voice. It is also in their prescriptions for nationalist literature and arts that fascism’s competing vectors of elitism and populism are particularly apparent. Nationalist...

... work, farming, pop music, sports, beauty, and household management. These formats absorbed the older influence of Kantian art education that fuels European cultural nationalism as well as early communist competitive factory production within the overarching context of Cold War competition between...

... was to respond to Fontana and to affirm disciplinary yet deskilled, repetitive, value-productive labor as the framework for art making. Manzoni’s work indexes Italy’s economic-historical entwinement at the intersection of a belated full capitalism and a prefigurative restructuring, later associated...

... understanding that authorial gesture could take place only within a fully predetermined template, pop. Problems in European modernism and the avant-garde were resurfacing. The monochrome was associated with the Soviet avant-garde and with the failure of the communist project in Italy, signaled...

..., was the prefigurative crucible. The Fiat strikes of 1962, which resulted in riots, followed by brutal repression and neutralization, opened onto what many call Italy’s years of revolutionary fomentation that rejected the liberal democratic appropriation of the Communist Party and, with it, forms of political...

... that included contests in literature, arts, sciences, trades, factory work, farming, pop music, sports, beauty, and household management. These formats absorbed the older influence of Kantian art education that fuels European cultural nationalism as well as early communist competitive factory production within...

... culture in the mid-1950s, they also read widely in Dutch and other European languages, and it is likely that some of them may have encountered The Outsider in its Dutch translation before Wright’s 1955 visit. The review describes Wright’s novel as “chilling.” Identifying Wright as a “reformed Communist...

... of 1952 and that of the Sierra Maestra in Cuba a few years later. In 1953, Guevara wrote a letter to a friend, expressing his budding admiration for the heroic sacrifice of insurgent Bolivian workers. The revolutionary nationalist spirit found expression in the arts, much as it had in Mexico earlier...

.... Commission of Fine Arts, 1974); Cornelius W. Heine, “The Washington City Canal,” Records of the Columbia Historical Society 53–56 (1953–56): 1–27; and, on nearby unrest, Robert I. Cottom Jr. and Mary Ellen Hayward, Maryland in the Civil War: A House Divided (Baltimore: Maryland Historical Society...

.... Commission of Fine Arts, 1974); Cornelius W. Heine, “The Washington City Canal,” Records of the Columbia Historical Society 53–56 (1953–56): 1–27; and, on nearby unrest, Robert I. Cottom Jr. and Mary Ellen Hayward, Maryland in the Civil War: A House Divided (Baltimore: Maryland Historical Society...

.... Commission of Fine Arts, 1974); Cornelius W. Heine, “The Washington City Canal,” Records of the Columbia Historical Society 53–56 (1953–56): 1–27; and, on nearby unrest, Robert I. Cottom Jr. and Mary Ellen Hayward, Maryland in the Civil War: A House Divided (Baltimore: Maryland Historical Society...

.... Commission of Fine Arts, 1974); Cornelius W. Heine, “The Washington City Canal,” Records of the Columbia Historical Society 53–56 (1953–56): 1–27; and, on nearby unrest, Robert I. Cottom Jr. and Mary Ellen Hayward, Maryland in the Civil War: A House Divided (Baltimore: Maryland Historical Society...

.... Commission of Fine Arts, 1974); Cornelius W. Heine, “The Washington City Canal,” Records of the Columbia Historical Society 53–56 (1953–56): 1–27; and, on nearby unrest, Robert I. Cottom Jr. and Mary Ellen Hayward, Maryland in the Civil War: A House Divided (Baltimore: Maryland Historical Society...

.... Commission of Fine Arts, 1974); Cornelius W. Heine, “The Washington City Canal,” Records of the Columbia Historical Society 53–56 (1953–56): 1–27; and, on nearby unrest, Robert I. Cottom Jr. and Mary Ellen Hayward, Maryland in the Civil War: A House Divided (Baltimore: Maryland Historical Society...

.... Commission of Fine Arts, 1974); Cornelius W. Heine, “The Washington City Canal,” Records of the Columbia Historical Society 53–56 (1953–56): 1–27; and, on nearby unrest, Robert I. Cottom Jr. and Mary Ellen Hayward, Maryland in the Civil War: A House Divided (Baltimore: Maryland Historical Society...

... of Washington (Washington, DC: U.S. Commission of Fine Arts, 1974); Cornelius W. Heine, “The Washington City Canal,” Records of the Columbia Historical Society 53–56 (1953–56): 1–27; and, on nearby unrest, Robert I. Cottom Jr. and Mary Ellen Hayward, Maryland in the Civil War: A House Divided (Baltimore...

.... Commission of Fine Arts, 1974); Cornelius W. Heine, “The Washington City Canal,” Records of the Columbia Historical Society 53–56 (1953–56): 1–27; and, on nearby unrest, Robert I. Cottom Jr. and Mary Ellen Hayward, Maryland in the Civil War: A House Divided (Baltimore: Maryland Historical Society...

.... Commission of Fine Arts, 1974); Cornelius W. Heine, “The Washington City Canal,” Records of the Columbia Historical Society 53–56 (1953–56): 1–27; and, on nearby unrest, Robert I. Cottom Jr. and Mary Ellen Hayward, Maryland in the Civil War: A House Divided (Baltimore: Maryland Historical Society...