The 1916 album War by Olga Rozanova, made in collaboration with Aleksei Kruchenykh, draws upon the visual and linguistic vocabularies of Futurism and Suprematism to explore the trauma of war.
Liubov’ Popova’s practice involved an active engagement with multiple movements and -isms in a relatively short period of time. In this essay, very formally distinct and different works by Popova, on view in the reinstalled galleries in 2019, are put into historical relation.
One hundred years ago, Kazimir Malevich’s Suprematist Composition: White on White and Aleksandr Rodchenko’s Non-Objective Painting no. 80 (Black on Black) hung side by side in the Tenth State Exhibition in Moscow. Now part of MoMA’s collection, the two monochrome interventions and their dynamic relationship shape our understanding of nonobjective painting in post-revolutionary Russia.
On November 15, 2017, post presented an evening of lectures and artist presentations titled Russian Cosmism: A Work of Art in the Age of Technological Immortality on the ideas of Russian Cosmism and their relevance to our time.
Film historian Ashish Rajadhyaksha discusses major moments in the study of early Indian cinema, a history that is punctuated by fires both on the screen and off the screen.
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