The Geography of Revolutionary Art
Bibliographic Data
| ID | 4996765 |
|---|---|
| Authors | Mayhill C Fowler (0000-0001-8246-9096, corresponding author) |
| Year | 2019 |
| Volume | 78 |
| Issue | 4 |
| Pages | 957-964 |
| Publication date | 2019-01-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Slavic Review (JOURNAL) |
| Journal identifiers | ISSN: 0037-6779 • E-ISSN: 2325-7784 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/slr.2019.255 |
| OpenAlex | W3003214890 |
| Language | EN |
| Citations received | 1 |
| References cited | 7 |
This article argues that a focus on Ukraine challenges the general understanding of culture in the revolutionary period, which either focuses on artists working in Moscow making Soviet art, or on non-Russian (Ukrainian, Jewish or Polish) artists in the regions making "national" art. Neither paradigm captures the radical shift in infrastructure during the imperial collapse and civil war. Placing the regions at the center of analysis highlights how Kyiv was an important cultural center during the period for later artistic developments in Europe and in the USSR. It shows that revolutionary culture is fundamentally wartime culture. Finally, the article argues that peripheral visions are central to a full geography of culture in order to trace how cultural infrastructures collapse and are re-constituted
Aesthetics · Art · Economic history · Period (music · Political science · Sociology · TRACE (psycholinguistics) · Ukrainian · Vision · Anthropology · Eastern European Communism and Reforms · European history and politics · History · Soviet and Russian History
| Unique citing works | 1 |
|---|---|
| Citations per year | 1 |
| Citation span | 2026 - 2026 (1) |
| Citation velocity | current |
| Highly cited | No |
| Citation types | Neutral: 1 |