Tupitsyn Margarita

Margarita TupitsynTupitsyn Margarita 

Margarita Tupitsyn is an independent curator, scholar, and art critic. She received her PhD in art history from the Graduate Center of City University of New York. In 1981–83, she was the curator of Contemporary Russian Art Center of America in New York City, where she organized the first exhibitions of Moscow Conceptualism including Russian New Wave. Her many exhibitions include Sots Art and Apt Art, The New Museum of Contemporary Art, New York; The Green Show, Exit Art, New York; Between Spring and Summer: Soviet Conceptual Art in the Era of Late Communism (co-curated), ICA, Boston; The Great Utopia (co-curated), Guggenheim Museum, New York; After Perestroika: Kitchenmaids or Stateswomen, ICI, New York; Global Conceptualism: Points of Origin, 1950s–1980s (co-curated), Queens Museum, New York;  Malevich and Film, Fundação Centro Cultural de Belém, Lisbon; Klutsis and Kulagina: Photography and Montage After Constructivism, ICP, New York; Verbal Photography: Ilya Kabakov, Boris Mikhailov and The Moscow Archive of New Art, Museu de Arte Contemporanea de Serralves, Porto; Against Kandinsky, Museum Villa Stuck, Munich; Rodchenko and Popova: Defining Constructivism, Tate Modern, London; Andrei Molodkin: Liquid Black, Museum Villa Stuck, Munich. She is the author of many books and catalogues including Margins of Soviet Art: Socialist Realism to the Present (Milan: Politi Editore, 1989), The Soviet Photograph (Yale University Press, 1996). In 2000, Tupitsyn was a Berlin Prize Fellow at the American Academy in Berlin, and in 2011, she received a Creative Capital/Warhol Foundation Arts Writers Grant. In 2015, Tupitsyn curated the Russian Pavilion at the 56th Venice Biennale and in 2018 curated Russian Dada, 1914-1924 at Museum Reina Sofia, Madrid.(post.at.moma.org/profiles/1505-margarita-tupitsyn)

Moscow Vanguard Art. 1922-1992

Ambitious and interdisciplinary, Moscow Vanguard Art: 1922-1992 tells the story of generations of artists who resisted Soviet dictates on aesthetics, spanning the Russian avant-garde, socialist realism, and Soviet postwar art in one volume. Drawing on art history, criticism, and political theory, Margarita Tupitsyn unites these three epochs, mapping their differences and commonalities, ultimately reconnecting the postwar vanguard with the historical avant-garde. With a focus on Moscow artists, the book chronicles how this milieu achieved institutional and financial independence, and reflects on the theoretical and visual models it generated in various media, including painting, photography, conceptual, performance, and installation art. Generously illustrated, this ground-breaking volume, published in the year that marks the centennial of the October Revolution, demonstrates that, regardless of political repression, the spirit of artistic experiment never ceased to exist in the Soviet Union. / yalebooks.yale.edu/book/9780300179750/moscow-vanguard-art

Reviews:

“Tupitsyn’s exploration of the history is deep and granular . . . A refreshing, interesting reexamination. Less burdened by outsiders’ preconceptions of art’s purpose in Soviet society.” —Library Journal

 ”While art historians will find in this book the most comprehensive critical survey of Russian experimental art of the Soviet period to date, Tupitsyn’s study, thanks to its rich factual base and interpretative insights, will also be of great interest to scholars of Soviet culture at large.” —Irina Shevelenko, Slavic Review