Alexander Kosolapov is one of the most remarkable "go-betweeners" of contemporary art, a nomadic presence across ideologies and cultures and a hero of Russian Conceptualism alongside Ilya Kabakov, Boris Mikhailov and Dmitri Prigov.
Author: Alexander Kosolapov
Publisher: Kerber Verlag
Text by Boris Groys, Alexander Borovsky, Lyudmila Novikova.
Author: Rochelle Cooper DreyfussPublish On: 2018-11-30
151 B Hero, Leader, God by Alexander Kosolapov Alexander Kosolapov is a
Russian artist who moved to New York in 1975, and is famous for drawing ironic
parallels between Soviet communism and American materialism. He has been ...
Author: Rochelle Cooper Dreyfuss
Publisher: Cambridge University Press
As knowledge production has become a more salient part of the economy, intellectual property laws have expanded. From a backwater of specialists in patent, copyright, and trademark law, intellectual property has become linked to trade through successive international agreements, and appreciated as a key to both economic and cultural development. Furthermore, law has begun to engage the interest of economists, political theorists, and human rights advocates. But because each discipline sees intellectual property in its own way, legal scholarship and practice have diverged, and the debate over intellectual property law has become fragmented. This book is aimed at bringing this diverse scholarship and practice together. It examines intellectual property through successive lenses (incentive theory, trade, development, culture, and human rights) and ends with a discussion of whether and how these fragmented views can be reconciled and integrated.
Humans have been uttering profane words and incurring the consequences for millennia. But contemporary events—from the violence in 2006 that followed Danish newspaper cartoons depicting the Prophet Mohammed to the 2012 furor over the Innocence of Muslims video—indicate that controversy concerning blasphemy has reemerged in explosive transnational form. In an age when electronic media transmit offense as rapidly as profane images and texts can be produced, blasphemy is bracingly relevant again. In this volume, a distinguished cast of international scholars examines the profound difficulties blasphemy raises for modern societies. Contributors examine how the sacred is formed and maintained, how sacrilegious expression is conceived and regulated, and how the resulting conflicts resist easy adjudication. Their studies range across art, history, politics, law, literature, and theology. Because of the global nature of the problem, the volume’s approach is comparative, examining blasphemy across cultural and geopolitical boundaries.
But Alexander Kosolapov is one of those artists. In our postmodern times, many
believe that it is no longer possible to be surprised or provoked. However,
Kosolapov has succeeded in both surprising and provoking—his recent works
Author: Boris Groys
Publisher: MIT Press
In the 1970s and 1980s, a group of "unofficial" artists in Moscow -- artists not recognized by the state, not covered by state-controlled media, and cut off from wider audiences -- created artworks that gave artistic form to a certain historical moment: the experience of Soviet socialism. The Moscow conceptualists not only reflected and analyzed by artistic means a spectacle of Soviet life but also preserved its memory for a future that turned out to be different from the officially predicted one. They captured both the shabby austerity of everyday Soviet life and the utopian energy of Soviet culture. In History Becomes Form, Boris Groys offers a contemporary's account of what he calls the most interesting Russian artistic phenomenon since the Russian avant-garde. The book collects Groys's essays on Moscow conceptualism, most of them written after his emigration to the West in 1981. The individual artists of the group -- including Ilya Kabakov, Lev Rubinstein, and Ivan Chuikov -- became known in the West after perestroika, but until now the artistic movement as a whole has received little attention. Groys's account sheds light not only on the Moscow Conceptualists and their work but also on the dilemmas of Soviet artists during the cold war.
Taumel der Zeichen Alexander Kosolapov * 1943 in Moskau , lebt und arbeitet in
New York City und Moskau Alexander Kosolapov kann als bemerkenswerter
Grenzgänger zwischen verschiedenen politischen Systemen , Ideologien ,
Ziva Amishai-Maisels, N. Y.) Jewish Museum (New York, Jewish Museum (New
York, N.Y.) Susan Tumarkin Goodman. 186 Alexander Semenovich Kosolapov
Moscow 1943 ; lives in New York Selected Bibliography Alexander Kosolapov .
Author: Ziva Amishai-Maisels
Publisher: Prestel Pub
Category: Art, Jewish
Every so often, the organizers of an art exhibition attempt to address head-on issues of interest in the world of contemporary politics. Russian Jewish Artists in a Century of Change, 1890-1990 represents such an undertaking. With the break-up of the Soviet Union, countries and cultures under Soviet control suddenly opened up to the West. In the past few years, as information has begun to flow more freely, art historians have found themselves having to re-examine their subjects and concerns in the light of newly accessible information. Nowhere is this situation more apparent than in the study of Jewish artists in Russia. Until recently, books and catalogues written in the West have concentrated on work done by Russian Jewish artists in exile. Now, for the first time, an international group of scholars has been assembled to address the last hundred years of art produced by Jews living in Russia itself. Given the present state of research, Russian Jewish Artists in a Century of Change, 1890-1990 - which documents an exhibition organized by The Jewish Museum, New York - purposely proposes more questions than it answers. A lucid historical overview by historian Michael Stanislawski followed by seven thought-provoking essays by an international roster of art historians who address, in chronological sequence, the difficult, frequently uplifting history of Jewish art in Russia in the modern period.
... Belozerov ( ) – Warrant Officer Alexandr Uybin ( ) – crew member Alexandr
Ivanov ( )–crew member Gennady Bolonin ... Commander of Pacific Fleet Alexander Kosolapov – Russian Federation Navy, Pacific Fleet spokesman
Captain Viktor ...
Author: Frank Pope
Publisher: Hachette UK
Category: Biography & Autobiography
The Royal Navy's dramatic race to save the crew of a trapped Russian submarine. 5 August 2005. On a secret mission to an underwater military installation 30 miles off the coast of Kamchatka, Russian Navy submersible AS-28 ran into a web of cables and stuck fast. With 600 feet of freezing water above them, there was no escape for the seven crew. Trapped in a titanium tomb, all they could do was wait as their air supply slowly dwindled. For more than 24 hours the Russian Navy tried to reach them. Finally - still haunted by the loss of the nuclear submarine Kursk five years before - they requested international assistance. On the other side of the world Commander Ian Riches, leader of the Royal Navy's Submarine Rescue Service, got the call: there was a sub down. With the expertise and specialist equipment available to him Riches knew his team had a chance to save the men, but Kamchatka was at the very limit of their range and time was running out. As the Royal Navy prepared to deploy to Russia's Pacific coast aboard a giant Royal Air Force C-17 airlifter, rescue teams from the United States and Japan also scrambled to reach the area. On board AS-28 the Russian crew shut down all non-essential systems, climbed into thick thermal suits to keep the bone-chilling damp at bay and waited, desperate to eke out the stale, thin air inside the pressure hull of their craft. But as the first of them began to drift in and out of consciousness, they knew the end was close. They started writing their farewells. 72 HOURS tells the extraordinary, edge-of-the-seat and real-life story of one of the most dramatic rescue missions of recent years.
ALEXANDER KOSOLAPOV . . . . . . . . . . . . . . . In a billboard project for Times
Square , Lenin becomes a pitchman for Coke . Mickey Mouse makes
pronouncements on the class struggle . A Coca - Cola bottle turns into a “
Molotov Cocktail , ” in ...
Alexander Kosolapov , The Finale of History , 1983 . Oil on canvas , 5 x 17 ' .
Courtesy of the artist . The " open angle ” serves contemporary artists from the
Soviet tradition with both a Soviet constructivist ligature and an open option for
Alexander Kosolapov, North, 1974. Oil on cardboard, 50 x 50 cm. tion, but a
pastiche: the wearing of a stylistic mask,. system. In its Western incarnation, Sots
art is not an ironic imitaOpposite page: Alexander Kosolapov, The Manifesto,
Author: Museum of Russian Art (Minneapolis, Minn.)Publish On: 2006
Alexander KOSOLAPOV 1943 - Plate 57 Born in Moscow , Kosolapov worked in
Moscow and Baltika now lives in New York . Though officially trained as a
monumental sculptor , 1973 Oil on wood Kosolapov's nonconformist work often ...
Author: Museum of Russian Art (Minneapolis, Minn.)
Category: Art, Modern
"[This book] has been organized to provide a unique opportunity to challenge current artistic paradigms by displaying the diversity, creativity and technical brilliance that is incorporated in both Socialist Realist and nonconformist art. The exhibition presents examples of the two internally competing views of contemporary life in the Soviet Union, providing a cross section of the art of the period as a mirror of a society that was largely isolated from most Americans at the time."--From introduction.
Author: Jane Voorhees Zimmerli Art MuseumPublish On: 1991
ART AND IDEOLOGY : EXCERPTS FROM AN INTERVIEW WITH ALEXANDER KOSOLAPOV by Gerald Pirog Gerald Pirog : Art in Russia has always been
important in communicating a reliable sense of the real . Do you see your role as
... oder Barnett Alexander Kosolapov , 1943 in Moskau ge - dieser Ausstellung –
welcher es im übrigen Newman ' s imitiert . ... Was von den Künstlern der
Ausbekannt - Vitaly Komar und Alexander Mela - Ronnie Cutrone und der 1942
in Bad ...
Alexander Kosolapov , Aurora , 1973 , Tempera , lacquer , oil on board , 40 x 49 x
7 cm , Collection of Contemporary Art in Tsaritsyno Museum , Photograph :
Valentin Chertok 22 . Alexander Kosolapov , Study , My Son ! , 1975 , Board ,
Author: Yekaterina Andreeva
Publisher: Fine Art Publishing
A look at a unique style that combines socialist realism and pop art.
One their sources function in the societies from which they derive . of the best
known pieces of New York Sots is fellow émigré For the Soviet Union , despite its
theoretical denial of such a Alexander Kosolapov's Coca - Cola ( Figure 2 ) ...