In this new atmosphere of freedom, Russia’s satirical magazine Krokodil (The Crocodile) became rejuvenated. John Etty explores Soviet graphic satire through Krokodil and its political cartoons.
Author: John Etty
Publisher: Univ. Press of Mississippi
After the death of Joseph Stalin, Soviet-era Russia experienced a flourishing artistic movement due to relaxed censorship and new economic growth. In this new atmosphere of freedom, Russia's satirical magazine Krokodil (The Crocodile) became rejuvenated. John Etty explores Soviet graphic satire through Krokodil and its political cartoons. He investigates the forms, production, consumption, and functions of Krokodil, focusing on the period from 1954 to 1964. Krokodil remained the longest-serving and most important satirical journal in the Soviet Union, unique in producing state-sanctioned graphic satirical comment on Soviet and international affairs for over seventy years. Etty's analysis of Krokodil extends and enhances our understanding of Soviet graphic satire beyond state-sponsored propaganda. For most of its life, Krokodil consisted of a sixteen-page satirical magazine comprising a range of cartoons, photographs, and verbal texts. Authored by professional and nonprofessional contributors and published by Pravda in Moscow, it produced state-sanctioned satirical comment on Soviet and international affairs from 1922 onward. Soviet citizens and scholars of the USSR recognized Krokodil as the most significant, influential source of Soviet graphic satire. Indeed, the magazine enjoyed an international reputation, and many Americans and Western Europeans, regardless of political affiliation, found the images pointed and witty. Astoundingly, the magazine outlived the USSR but until now has received little scholarly attention.
Covering the first decades of the Soviet Union, from the Civil War to the end of Stalin's Second Five-Year Plan in the 1930s, the graphic works in Building the Collective provide a remarkable overview of design during one of this century's ...
Author: Leah Dickerman
Covering the first decades of the Soviet Union, from the Civil War to the end of Stalin's Second Five-Year Plan in the 1930s, the graphic works in Building the Collective provide a remarkable overview of design during one of this century's most politically turbulent and artistically active periods. These designs, from the collection of Merrill C. Berman, challenge assumptions of a monolithic Soviet poster style, conveying the impressive range of graphic design as it responded to a rapidly evolving political situation. Providing historical context and focusing on images of labor, industrialization, and technology, Building the Collective demonstrates how the ideological imperative of imagining a new collective society existed in a fertile and sometimes contradictory relationship with the artists' efforts to redefine their role in post-revolutionary Russia. Building the Collective showcases over 100 posters and other graphic works, representing the talents of a wide variety of artists, from the acclaimed to the anonymous. Color reproductions of works by Gustav Klutsis, Aleksandr Rodchenko, El Lissitzky, and the Stenberg brothers - as well as those of lesser-know but important designers such as Aleksandr Deineka, Viktor Deni, and Elena Semenova - are shown alongside posters created by "brigades" of designers who worked collectively and anonymously in the spirit of the times.
The latter were inspired by a little - known Soviet satirical painter called Pyotr
Belov , whose work one of our researchers stumbled across in the Soviet Union ,
as it was then . All the sequences were put together on ' Harry ' to the required ...
Author: Douglas Merritt
This book explains the role of the graphic designer in making broadcast programmes and on-screen publicity, together with their contribution to art direction and graphic design in TV commercials, supported by case studies of student and professional work. There is a maze of technical production methods available, both old and new, but there is very little literature to describe them or to explain how TV designers organise, understand and employ them. This book offers a sound introduction to the subject with a 32 page colour plate section including many examples of contemporary designers' work. Includes case studies of professional and student work to apply the information with in the book Learn from the extensive experiance of the former Head of TV Graphics at Thames TV Detailed descriptions of current equipment bring you up-to-date
He sensed responsibility to tradition and to society : Russia , he thought , needed
" Shakespearean " drama , and Boris Godunov resulted . ... Critics took them as
sociopolitical satire ; Gogol objected violently , wishing them to be read in
religious terms . ... Pushkin folk tale by I. Bilibin ( 1876-1942 ) , associated with
the Symbolist " world of Art " group and one of the best turn - of - thecentury
graphic artists .
Author: R. R. Milner-Gulland
A lively and authoritative text is complemented by high-quality photography.
perestroika 23 – 4 , 24 political discontent 81 post - Soviet Europe 106 - 10 post -
war 188 , 188 protest graphics 15 – 18 , 15 - 17 ... 37 , 54 , 127 – 8 , 180 , 180 – 3
, 182 political satire 80 – 1 presidential elections 80 – 1 , 96 , 96 - 101 racism 222
Vietnam War 15 , 16 – 17 ... Company 186 USSR Cold War 4 disintegration of 80
and Lithuanian independence 130 perestroika 23 – 4 , 24 , 81 see also Russia ...
Author: Liz McQuiston
Publisher: Phaidon Incorporated Limited
This book follows on from Graphic Agitation, published by Phaidon in 1993, to look at a range of social and political graphics from the past decade. The book begins with a survey of political and social graphics in the 1990s, and looks at how, and why, the nature of protest changed in that decade. In particular it examines the impact of the 'digital age', and the profound effect new technologies have had even on non-digital media. There follows a review of protest graphics from the 1960s, '70s and '80s, providing context and featuring groundbreaking images from around the world. Reflecting the mix of agitational protest taking place today, Graphic Agitation 2 shows work by both professional designers and non-professional activists on the 'street'. It includes the latest digital media alongside more traditional graphic methods. Graphic Agitation 2 is a valuable resource for anyone with an interest in visual media, politics, and social history.
"Russian Revolutionary Posters tells the story of the development of the Soviet poster, from the revolutionary period through to the death of Stalin, revealing the way in which tumultuous events within the Soviet Union were matched by ...
Author: David King
The tumultuous events of the Russian Revolution were matched by dramatic shifts in graphic art and design that continue to influence our visual landscape. David King, an internationally acclaimed graphic designer, selected the posters reproduced here from his own unparalleled collection. Constructivist posters, socialist advertising, and biting political satire are all represented, as are artists such as Alexander Rodchenko, El Lissitzky, and Gustav Klutsis. King sets the posters in context and profiles the art directors whose vision played a vital role in creating these striking works.