Sergei Konenkov was one of this century's most distinguished Russian artists. A celebrated sculptor, he was a leading figure of the young Soviet art establishment in the early 1920s. After spending over twenty years in the United States, he returned to the Soviet Union in 1945 to become a respected member of the Soviet art world. The mentor to an entire generation of Soviet sculptors, he was renowned for his personal charisma and artistic versatility. This collection of essays, interviews, and personal reminiscences is the first appraisal of his work and life published outside of Russia.
The contributors view Konenkov’s work within a variety of cultural, artistic, and philosophical contexts. With particular attention to his awareness of both indigenous Russian traditions and European innovations, they trace the many stages of his artistic development as he explored and experimented with techniques borrowed from Realism, Symbolism, salon portraiture, African wood carving, Socialist Realism, and Surrealism. The many different historical sources that inspired Konenkov’s artistic expression, from Orthodox Christianity and the folklore of the Russian peasantry to the Egyptian pyramids and pre-classical antiquity are also discussed. The contributors also explore the relationship of Konenkov's life and ideology to art, and the effects of expatriation on creativity.
Illustrated with dozens of photographs of Konenkov’s art, this study of one of the most enigmatic and fascinating artists of the modern period will accompany an exhibition at The Jane Voorhees Zimmerli Art Museum.
The Underground Poetry Metro Transportation System for Souls collects 16 essays by late Tony Hoagland. Gathered by Hoagland himself into a volume for the Poets on Poetry series, these pieces grapple with an expansive range of poetic and cultural concerns—and the surprising and necessary knowledge to be found where they cross paths. His trademark humor and irony, at once approachable, thoughtful, and sophisticated, lead the way toward clear-eyed, sometimes difficult, considerations of contemporary American culture. Through his curiosity, he elevates the seemingly quotidian into a profound subject worthy of close consideration. Hoagland’s generosity of spirit imbues his work with empathy for experiences beyond his own, and his honesty allows him to turn a critical eye on himself and to acknowledge the limits of his understanding. This collection will be rewarding not just for readers of contemporary poetry, but for anyone who wants to step back, take a look at our American reality, and know we’ll be okay.
For two spring days in 2001, John Updike visited Cincinnati, Ohio, engaging and charming his audiences, reading from his fiction, fielding questions, sitting for an interview, participating in a panel discussion, and touring the Queen City.
Successful writers typically spend a portion of their lives traveling the country to give readings and lectures. While a significant experience for author and audience alike, this public spectacle, once covered in detailed newspaper accounts, now is barely noticed by the media. Updike in Cincinnati—composed of a wealth of materials, including session transcripts, short stories discussed and read by the author, photographs, and anecdotal observations about Updike's performance and personal interactions--is unique in its comprehensive coverage of a literary visit by a major American author.
Updike's eloquence, intelligence, improvisational skills, and gift for comedy are all on display. With natural grace, he discusses a range of topics, including his novels and short stories, his mother and oldest son as writers, Pete Rose and Shoeless Joe Jackson, the Nobel Prize, his appearance on The Simpsons, the Cold War, and Hamlet.
Augmented with commentary by critics W. H. Pritchard and Donald Greiner, and an introduction and interview by James Schiff, Updike in Cincinnati provides an engaging and detailed portrait of one of America's contemporary literary giants.
Pottery made in the Aegean during the Late Bronze Age has been found in many parts of the Mediterranean—Mycenaean dinner and storage vessels, for example, have been discovered at some four hundred sites outside Greece. These artifacts provide one of the main sources of information on Mycenaean trade and interregional contact, but the role of pottery in international exchange during this period is still not properly understood. Gert Jan van Wijngaarden brings us closer with this study, which investigates patterns of consumption for the three biggest importers of Mycenaean pottery: the Levant, Cyprus, and Italy.