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DTSTART:20240310T070000
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DTSTART:20231105T060000
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UID:event.910385.www.amherst.edu
DTSTART;TZID=America/New_York:20240420T100000
SEQUENCE:0
TRANSP:TRANSPARENT
DTEND;TZID=America/New_York:20240420T170000
LOCATION:Webster Hall\, 202
SUMMARY:Archives of World Socialism 
CLASS:PUBLIC
DESCRIPTION:Archives of World Socialism \n\nhttps://culturesofworldsociali
 sm.com/ \n\nApril 20\, 2024\, 10:30 AM-5:30 PM \n\nAmherst College Cente
 r for Russian Culture \n\n202 Webster Hall \n\nThe nation-based archives
  of socialist states bely the world-making\nambitions of socialist culture
 .  Despite widespread recognition of\nthe scalar complexity of socialist 
 internationalism and the\nreciprocity of exchange between its manifold for
 ms of culture across\ngeographies\, socialist culture's claims to internat
 ionalism are still\ntypically siloed within national contexts. This worksh
 op brings\ntogether the Cultures of World Socialism working group to exami
 ne\,\nshare\, and compare the documents and objects of socialist art and\n
 literature to gain a multipolar view of the socialist world between\nthe m
 ultinational USSR\, PRC\, Soviet satellite states\, and other\ncommunist a
 nd socialist countries. In considering the art and\nliterature of socialis
 m as a single interconnected corpus\, this\nworkshop recognizes the impera
 tive for scholarly collaboration across\nborders\, linguistic competencies
 \, and disciplinary fields. Moving away\nfrom the authority of the nationa
 l archive\, the workshop seeks to\nreframe the diverse art and literature 
 of socialism as an alternative\narchive\, one that registers and envisions
  multiple modes of\ninternationalism. Lastly\, by attending to specific ob
 jects\n(manuscripts\, printed books and ephemera\, works of art and design
 ed\neveryday objects)\, the planned symposium will serve the workshop’s\
 nmovement from the history of artistic and literary institutions into\nthe
  domains of materiality\, aesthetics\, and poetics. \n\nSponsored by the 
 Amherst College Center for Russian Culture\, Five\nColleges Symposium Fund
 \, UMass Department of the History of Art and\nArchitecture\, Smith Colleg
 e Program in Russian\, East European and\nEurasian Studies. \n
DTSTAMP:20240419T144941Z
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BEGIN:VEVENT
UID:event.910552.www.amherst.edu
DTSTART;TZID=America/New_York:20240424T150000
SEQUENCE:0
TRANSP:TRANSPARENT
DTEND;TZID=America/New_York:20240424T163000
LOCATION:Webster Hall\, 202
SUMMARY:\"Art in Doubt:\" Film Screening and Curators Talk
CLASS:PUBLIC
DESCRIPTION:Please join us for a screening of the new BBC documentary \"The
  Zaks\nAffair: Anatomy of a Fake Collection\,\" an exciting detective stor
 y\nthat investigates a collection of dubious works of the Russian\navant-g
 arde. Maria Timina\, curator of Russian and European Art at the\nMead\, wa
 s interviewed for the film\, along with former ACRC speakers\nKonstantin A
 kinsha and James Butterwick. \n\nAfter the screening\, Maria will give a 
 talk on the exhibition \"Art in\nDoubt: A Critical Examination of the Thom
 as P. Whitney Collection\,\nPart 2\,\" the ACRC's own ongoing investigatio
 n into questions of\nauthenticity. This exhibition is about suspected fake
 s and possible\nforgeries\, about works that cause us to doubt history\, e
 xperts and art\nitself. It is about doubt as an essential part of art attr
 ibution\,\nwhile it is also about how knowledge can transform skepticism i
 nto\nassurance. With a focus on the Thomas P. Whitney Collection\, a\ncoll
 ection of over six hundred objects housed at the Mead Art Museum\,\n“Art
  in Doubt” marks the first scholarly presentation of dubious\nworks of R
 ussian and Soviet modern art in the United States. In two\nparts\, the exh
 ibition continues throughout the 2023-24 academic year.\nPart 1 featured e
 xclusively artworks of disputed authenticity—those\nwith imaginary histo
 ries of ownership\, unreliable authenticity\ncertificates\, misleading sig
 natures\, and fabricated artist\nbiographies. Part 2 offers a wider range 
 of artworks whose\nauthenticity has been questioned\, some of which are hi
 ghly dubious and\nsome of which now appear to be genuine.\n \n \n
DTSTAMP:20240419T144941Z
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BEGIN:VEVENT
UID:event.909967.www.amherst.edu
DTSTART;TZID=America/New_York:20240425T163000
SEQUENCE:0
TRANSP:TRANSPARENT
DTEND;TZID=America/New_York:20240425T180000
LOCATION:Webster Hall\, 202
SUMMARY:Brian Fairley\, \"Promethean Phonography: Nikolai Marr’s Posthumo
 us\nRecordings of Georgian Folk Song\"
CLASS:PUBLIC
DESCRIPTION:This talk will explore a series of experimental sound recording
 s made\nin Leningrad in 1935. Using three wax-cylinder phonographs\, each\
 nrecording an individual singer simultaneously\, researchers at the\nPhono
 gram Archive of the Institute of Anthropology and Ethnography\nisolated th
 e interlocking vocal parts of folk songs from Guria\, a\nregion of Georgia
  in the South Caucasus. Assisting with these\nquasi-multitrack recordings 
 was Ioseb Megrelidze\, a young Georgian\nlinguist and protégé of Nikolai
  Marr (1865–1934)\, a dominant\nfigure in Soviet academia for much of th
 e Stalinist period. These\nlargely forgotten recordings—as well as archi
 val traces including an\nunpublished manuscript by Megrelidze—offer a wi
 ndow into major\nintellectual debates in this formative decade: the search
  for the\nprehistoric origins of language and song\, the possibilities aff
 orded\nby media technology to capture reality as it is (or as it should be
 )\,\nand the tenuous position of non-Slavic peoples in determining the\nfu
 ture direction of Soviet cultural life.\n\nBRIAN FAIRLEY is a Visiting Sch
 olar in the Department of Music at\nAmherst College and a Visiting Lecture
 r at Mount Holyoke College. He\nreceived his PhD in Ethnomusicology from N
 ew York University in 2023\,\nwith a dissertation entitled \"Dissected Lis
 tening: A Media History of\nGeorgian Polyphony.\" His work explores practi
 ces of voice and media in\nhistorical and ethnographic contexts\, with ong
 oing research interests\nin multichannel sound recording\, anthropological
  theories of race and\nevolution\, the concept of polyphony in Western mus
 ic theory\, and\nsinging traditions of the Republic of Georgia. In Fall 20
 24\, Brian\nwill begin a postdoctoral fellowship at the Center for Russian
 \, East\nEuropean\, and Eurasian Studies at the University of Pittsburgh.\
 n
DTSTAMP:20240419T144941Z
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BEGIN:VEVENT
UID:event.910540.www.amherst.edu
DTSTART;TZID=America/New_York:20240524T143000
SEQUENCE:0
TRANSP:TRANSPARENT
DTEND;TZID=America/New_York:20240524T160000
SUMMARY:Konstantin Akinsha\, \"Who stole Ukrainian art? A Short Survey of\n
 Modernism in Ukraine\"
CLASS:PUBLIC
DESCRIPTION:KONSTANTIN AKINSHA is among the foremost scholars and curators 
 of\nRussian and Ukrainian Art. He studied at the Shevchenko Art School in\
 nKyiv\, Ukraine and in 1986 completed a Masters in Art History at the\nMo
 scow State University in Russia. He obtained his Candidate of Art\nHistory
  at the Research Institute of Art History in Moscow in 1990\,\nand started
  a PhD at the University of St Andrews\, Scotland in 2005.\nThroughout his
  career\, he has been curator at the Kyiv Museum of\nWestern and Oriental 
 Art\, Kyiv\, Ukraine\, Moscow correspondent for\nARTnews\, contributing ed
 itor for ARTnews magazine\, New York\, as well\nas a Research Fellow at bo
 th the Germanisches Nationalmuseum\,\nNuremberg\, Germany and Bremen Kunst
 verein\, East European Institute of\nBremen University\, Bremen\, Germany.
  From 1999-2000 he was also Deputy\nResearch Director Art and Cultural Pro
 perty\, Presidential Advisory\nCommission on Holocaust Assets in the Unite
 d States\, Washington\, DC.\nIn 2006 he became the European Correspondent 
 for ARTnews magazine in\nBudapest\, and in 2007 he also became a Eugene an
 d Davmel Shklar Fellow\nat the Ukrainian Research Institute of Harvard Uni
 versity.\n\nSince the start of the full-scale Russian invasion of Ukraine\
 , he has\nbeen documenting the destruction of its cultural heritage and ha
 s been\nwriting for such publications as The Wall Street Journal and for h
 is\nown website. In 2022\, he developed the traveling exhibition _In the\n
 Eye of the Storm: Modernism in Ukraine\, 1900-1930s_\, which offers a\npan
 oramic view of Modernism in the region and provides an opportunity\nfor mu
 seums in Europe to support the safekeeping of works from\nUkrainian museum
 s endangered by the Russian invasion. _In the Eye of\nthe Storm_ has been 
 on display throughout Europe\, at the\nThyssen-Bornemisza National Museum 
 in Madrid\, the Museum Ludwig in\nCologne\, the Royal Museums of Fine Arts
  of Belgium in Brussels\n(2022-2023)\, the Belvedere Museum in Vienna\, an
 d the Royal Academy of\nArts in London (2024). In 2024\, he curated the ex
 hibition \"The\nJuncture: Ukrainian Artists in Search of Modernity and Ide
 ntity\" at\nthe Mead Art Museum at Amherst College\, bringing together rar
 e works\nby three of the leading Modern Ukrainian artists: Oleksandr Bohom
 azov\n(1880—1930)\, Alexander Archipenko (1887—1964)\, and Vasyl Yermi
 lov\n(1894—1968).\n
DTSTAMP:20240419T144941Z
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