Christina Kiaer
Biographic Data
| ID | 363349 |
|---|---|
| NAME | Christina Kiaer |
| GIVEN NAMES | Christina |
| FAMILY NAME | Kiaer |
| SIGNATURE | KIAER C |
| AFFILIATIONS | Columbia University |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 26 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1993 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 3 |
Collective Body
African Americans in Soviet Socialist Realism
Aleksandr Deineka's paintings of African Americans made during his visit to the United States in 1935 have never been studied in detail, and certainly not as part of the broader history of representations of African Americans in early Soviet visual culture. Analyzing examples of Soviet anti-racist imagery from the later 1920s through 1936, the essay establishes a context for understanding Deineka's works as self-conscious interventions into a vis…
Lyrical Socialist Realism
The thirty-three-year-old artist Aleksandr Deineka was given a large piece of wall space at the exhibition 15 Years of Artists of the RSFSR at the Russian Museum in Leningrad in 1932. At the center of the wall hung his most acclaimed painting, The Defense of Petrograd of 1928, a civil-war-themed canvas showing marching Bolshevik citizens, defending against the incursions of the White armies on their city, arrayed in flattened, geometric patterns …
Was Socialist Realism Forced Labour? The Case of Aleksandr Deineka in the 1930s
Journal Article Was Socialist Realism Forced Labour? The Case of Aleksandr Deineka in the 1930s Get access Christina Kiaer Christina Kiaer Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 28, Issue 3, October 2005, Pages 321–345, https://doi.org/10.1093/oxartj/kci031 Published: 01 October 2005
Dreamworld and Catastrophe
The Russian Constructivist Flapper Dress
Inhabiting Soviet Modernity
Books reviewed in this article: Buchli, Victor, An Archaeology of Socialism. Materializing Culture
Boris Arvatov's Socialist Objects
Boris Arvatov is best known as an art historian and critic who championed the utilitarian production art of the Russian Constructivist avant-garde during the 1920s. He was notorious for his single-minded interest in production and technology, but in the essay Everyday Life and the Culture of the Thing (1925), translated for the first time in this issue, he unexpectedly turns his attention to consumption and everyday life.' The essay attempts to i…
Everyday Life and the Culture of the Thing (Toward the Formulation of the Question)
The great majority of Marxists who address the problem of proletarian culture approach it on a purely ideological level, or at the very least take ideology as the point of departure for their investigations. Views on culture dominant within the Marxist sphere are characterized by a peculiar ideologism. Whenever comrades are called upon to explain social processes, including cultural ones, they begin with the production of material values. However…
Professional Femininity in Hogarth's Strolling Actresses Dressing in a Barn
Everyday Life and the Culture of the Thing (Toward the Formulation of the Question)
The great majority of Marxists who address the problem of proletarian culture approach it on a purely ideological level, or at the very least take ideology as the point of departure for their investigations. Views on culture dominant within the Marxist sphere are characterized by a peculiar ideologism. Whenever comrades are called upon to explain social processes, including cultural ones, they begin with the production of material values. However…
Boris Arvatov's Socialist Objects
Boris Arvatov is best known as an art historian and critic who championed the utilitarian production art of the Russian Constructivist avant-garde during the 1920s. He was notorious for his single-minded interest in production and technology, but in the essay Everyday Life and the Culture of the Thing (1925), translated for the first time in this issue, he unexpectedly turns his attention to consumption and everyday life.' The essay attempts to i…
The Russian Constructivist Flapper Dress
African Americans in Soviet Socialist Realism
Aleksandr Deineka's paintings of African Americans made during his visit to the United States in 1935 have never been studied in detail, and certainly not as part of the broader history of representations of African Americans in early Soviet visual culture. Analyzing examples of Soviet anti-racist imagery from the later 1920s through 1936, the essay establishes a context for understanding Deineka's works as self-conscious interventions into a vis…
Was Socialist Realism Forced Labour? The Case of Aleksandr Deineka in the 1930s
Journal Article Was Socialist Realism Forced Labour? The Case of Aleksandr Deineka in the 1930s Get access Christina Kiaer Christina Kiaer Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 28, Issue 3, October 2005, Pages 321–345, https://doi.org/10.1093/oxartj/kci031 Published: 01 October 2005
Lyrical Socialist Realism
The thirty-three-year-old artist Aleksandr Deineka was given a large piece of wall space at the exhibition 15 Years of Artists of the RSFSR at the Russian Museum in Leningrad in 1932. At the center of the wall hung his most acclaimed painting, The Defense of Petrograd of 1928, a civil-war-themed canvas showing marching Bolshevik citizens, defending against the incursions of the White armies on their city, arrayed in flattened, geometric patterns …
Professional Femininity in Hogarth's Strolling Actresses Dressing in a Barn
Boris Arvatov's Socialist Objects
Boris Arvatov is best known as an art historian and critic who championed the utilitarian production art of the Russian Constructivist avant-garde during the 1920s. He was notorious for his single-minded interest in production and technology, but in the essay Everyday Life and the Culture of the Thing (1925), translated for the first time in this issue, he unexpectedly turns his attention to consumption and everyday life.' The essay attempts to i…
Everyday Life and the Culture of the Thing (Toward the Formulation of the Question)
The great majority of Marxists who address the problem of proletarian culture approach it on a purely ideological level, or at the very least take ideology as the point of departure for their investigations. Views on culture dominant within the Marxist sphere are characterized by a peculiar ideologism. Whenever comrades are called upon to explain social processes, including cultural ones, they begin with the production of material values. However…
Inhabiting Soviet Modernity
Books reviewed in this article: Buchli, Victor, An Archaeology of Socialism. Materializing Culture
The Russian Constructivist Flapper Dress
Dreamworld and Catastrophe
Was Socialist Realism Forced Labour? The Case of Aleksandr Deineka in the 1930s
Journal Article Was Socialist Realism Forced Labour? The Case of Aleksandr Deineka in the 1930s Get access Christina Kiaer Christina Kiaer Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 28, Issue 3, October 2005, Pages 321–345, https://doi.org/10.1093/oxartj/kci031 Published: 01 October 2005
Lyrical Socialist Realism
The thirty-three-year-old artist Aleksandr Deineka was given a large piece of wall space at the exhibition 15 Years of Artists of the RSFSR at the Russian Museum in Leningrad in 1932. At the center of the wall hung his most acclaimed painting, The Defense of Petrograd of 1928, a civil-war-themed canvas showing marching Bolshevik citizens, defending against the incursions of the White armies on their city, arrayed in flattened, geometric patterns …
African Americans in Soviet Socialist Realism
Aleksandr Deineka's paintings of African Americans made during his visit to the United States in 1935 have never been studied in detail, and certainly not as part of the broader history of representations of African Americans in early Soviet visual culture. Analyzing examples of Soviet anti-racist imagery from the later 1920s through 1936, the essay establishes a context for understanding Deineka's works as self-conscious interventions into a vis…
Collective Body
Art (7 works) · Art history (6 works) · History (5 works) · Political science (5 works) · Sociology (5 works) · Art, Politics, and Modernism (4 works) · Law (4 works) · Law (4 works) · Aesthetics (3 works) · Politics (3 works)