![]() ![]() Through my analysis, I show that the distinctive characteristics of Moscow Conceptualism - romanticism and reference to the 20th Century Russian avant-garde heritage - are fully present in Komar and Melamid’s practice of this period. I argue that these works were created in accordance with the ideas and traditions of Moscow Conceptualism, as defined by Boris Groys in 1979. These four works exemplify Komar and Melamid’s simultaneous criticality of ideological Soviet propaganda on the one hand, and Western consumer culture on the other. In this thesis, I analyze four works by Komar and Melamid from the period of their immigration to the United States: Color Therapeutics (1974-1975), Circle, Square, Triangle (1974), Catalog of Super Objects – Super Comfort for Super People (1975) and We Buy and Sell Souls (1978-1979). Over the course of almost 40 years of collaboration, they created various artworks commenting on power and popular culture using a wide range of media. ![]() The Soviet-born American artists Vitaly Komar and Alexander Melamid formed their artistic partnership in Moscow in 1965. ![]()
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