<p>Book by Frdrick RWrisman Foundation</p>

The Eclectic Eye: Selections from the Frederick R. Weisman Art Foundation

Frdrick RWrisman Foundation

Arts & Photography

Frederick R Weisman Art Museum

Inspired by American pop art of the 1960s, sots art emerged in the Soviet Union during the 1970s. Both movements used irony, parody, and mockery to expose the core elements of their societies -- in the United States, consumerism, and in the USSR, communist ideology. It's the Real Thing is the catalog of a landmark exhibition in which the work of pre- and post-perestroika sots artists was exhibited together for the first time in the United States at the Frederick R. Weisman Art Museum in Minneapolis.Sots art was originally produced in Moscow by nonofficial Soviet artists who grew up in the 1960s. Strongly influenced by propaganda art, they still remembered the aura of sanctity that had surrounded Stalin. Pop art provided them with tools to confront the objects of their consumerism -- political slogans and official images. Instead of enjoying the adulation and mainstream success many pop artists experienced, sots artists were harassed and misunderstood, and their art remained underground and marginal. Not until some of these artists emigrated to New York City in the mid-1970s was sots art hailed in the United States as the first avant-garde movement to come out of the Soviet Union since the 1910s.It's the Real Thing features work by all the major figures of sots art, including Vitaly Komar and Alexander Melamid, who founded the movement. By liberating culture from generations of accumulated fear and by embracing political changes and alternatives, sots artists created a movement that continues to influence contemporary art in Russia just as pop artists changed the American art world forever. It's the Real Thing illuminates art and artists of this important and fascinating movement.

It's the Real Thing: Soviet and Post-Soviet Sots Art and American Pop Art

Khidekel, Regina

While many modern artists have been fascinated by the formal richness, the conceptual foundations, and the social significance of maps, cartographers have long used the techniques of artists to create maps that express much more than how to get from one place to another. World Views is the companion volume to an exhibition at the Frederick R. Weisman Art Museum that is the first to combine maps, contemporary art that uses map forms and strategies, and commissioned works of art based on the idea of map making.Densely illustrated with full-color reproductions, World Views shows how maps are a vehicle for examining cultural issues ranging from personal identity to international politics. Maps from around the world and throughout history along with works by artists such as Jasper Johns and Nancy Graves are joined by art created especially for the exhibition.Although maps are supposedly objective, they incorporate cultural values and political beliefs. Essays by Robert Silberman and eminent geographer Yi-Fu Tuan explore further the complex relationship between the changing world, map making, and art.

World Views: Maps and Art : September 11, 1999-January 2, 2000

Tuan, Yi-Fu

Silberman, Robert Bruce

Collections, Catalogs & Exhibitions

American artists in the early decades of the 20th century found rich inspiration in vaudeville halls, revue theatres and moving-picture houses. The spectacular new visual attractions in these venues, emerging partly as a result of such technological advances as electrical lighting of the stage and the invention of motion pictures, emboldened artists to translate the arresting stimuli to their own medium. This illustrated work is devoted to American artists' responses to film, popular theatre, and other urban amusements from 1890 to 1930. The volume presents more than 100 paintings, drawings, watercolours and photographs that convey the highly-charged experience of attending vaudeville, early moving-picture shows, and other forms of popular amusements. These works of art reveal much about the beginnings of modernity in the United States and about how artists in early 20th-century America searched for new pictorial vocabularies to express the profound change and dynamism of their time. The contributors to the volume represent a wide variety of expertise - from art history to film to theatre - and they examine works by such key artists as Charles Demuth, Edward Hopper, Walt Kuhn, Everett Shinn and John Sloan, each of whom found a different formal and stylistic means to portray popular entertainment and, along the way, what it meant to be modern.

On the Edge of Your Seat: Popular Theater and Film in Early Twentieth-Century American Art

McDonnell, Patricia

Frederick R. Weisman Art Museum

Allen, Robert Clyde

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Books by Frederick R Weisman Art Museum