Chapter 101 Introduction: Emigrating from the Soviet Union, Marilyn Rueschemeyer; Chapter 102 The History and Organization of Artistic Life in the Soviet Union, Igor Golomshtok; Chapter 103 Soviet Emigré Artists in the American Art World, Marilyn Rueschemeyer; Chapter 104 The Artistic Development of Soviet Emigré Artists in New York, Janet Kennedy; Chapter 105 Afterword, Marilyn Rueschemeyer;
Marilyn Schattner Rueschemeyer, educated at the University of
Toronto and at Brandeis University, where she completed her
doctorate, is assistant professor of sociology at the Rhode Island
School of Design and adjunct assistant professor of sociology at
Brown University. She is also affiliated with the Russian Research
Center at Harvard University and in 1979 and 1982 was a senior
associate member of St Antony’s College, Oxford. Rueschemeyer has
conducted field research in Israel, the German Democratic Republic,
and the USSR as well as in the United States. She is the author of
Professional Work and Marriage: An East–West Comparison.,
Igor Golomshtok is an art historian and critic who specializes in
the art of the Renaissance and of the twentieth century. Before his
emigration from the Soviet Union he was a senior research fellow at
the Museum of Fine Arts in Moscow and lectured on the history of
Western art at Moscow University. He was a member of the Union of
Soviet Artists. Since moving to England in 1972 Golomshtok has
taught at Oxford University and worked for the BBC. He is also an
editor of A-Ya, a multilingual periodical devoted to contemporary
Russian “unofficial” art, published in Paris. In addition to a
number of monographs, he is the author, with Alexander Glezer, of
Soviet Art in Exile and with Andrei Sinyavsky of a book on
Picasso.,
Janet Kennedy, who received her doctorate from Columbia University,
is an associate professor in the School of Fine Arts at Indiana
University. She has been a visiting fellow at the Kennan Institute
and spent 1979–80 in the Soviet Union as a Fulbright-Hays scholar.
Kennedy is the author of The “Mir iskusstva” Group and Russian Art
1898–1912 and many articles on modern art and sculpture, and is
completing Mikhail Vrubel: An Art Historical Perspective on Russian
Symbolism.
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