Search Details

Word: soviet (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
Sort By: most recent first (reverse)


Usage:

...Soviets are especially hard up for corn for livestock feed. They need large quantities because they are trying to increase their cattle herds to put more meat into the cereal-heavy Soviet diet...

Author: /time Magazine | Title: Business: A New Soviet Grain-Buying Spree | 7/9/1979 | See Source »

...follows the flag. The original inhabitants, of course, are long gone. A few survivors get a job in the mines. So it has been with the big "rediscoveries" of the art market in the past 20 years, such as art nouveau, art deco, 19th century American art-and now Soviet vanguard art of the period...

Author: /time Magazine | Title: Art: Futurism's Farthest Frontier | 7/9/1979 | See Source »

...produced in Russia before, during and for ten years after the Revolution of 1917 was the last great efflorescence of the modernist spirit that is still not fully known about. This was partly due to the cold war. The main reason, however, was repression inside the Soviet Union. The work of artists like Alexander Rodchenko, El Lissitzky, Lyubov Popova, Natalya Goncharova, Mikhail Larionov, Vladimir Tallin, Kasimir Malevich, Natan Altman, Naum Gabo and scores of others was a collectively ecstatic response to the possibilities of a new world, the Utopia that Lenin called "Marx plus electricity." It was international in range...

Author: /time Magazine | Title: Art: Futurism's Farthest Frontier | 7/9/1979 | See Source »

...stayed, like Rodchenko or the architect Konstantin Melnikov, survived as ghosts, forgotten men in a culture of vindictive Stalinist toadies. Like Cronus, the Revolution devoured its children. As a wholesale trashing of a civilization, only Hitler's demolition of the German modernists compares with it. Inside the Soviet Union, the works themselves lay buried, invisible to the people and never exported-until...

Author: /time Magazine | Title: Art: Futurism's Farthest Frontier | 7/9/1979 | See Source »

...exhibition that opened last month at Paris' Centre Pompidou, under the title "Paris-Moscow, 1900-1930," is therefore a cultural event of prime importance. There has never been a chance for anyone, in or out of the Soviet Union, to see this great subject treated in such depth. It is designed, in the words of the catalogue, as "the last panel of the triptych" of exhibitions illustrating the relationships between Paris and three modernist capitals: New York (1977), Berlin (1978) and Moscow. The sheer size of the Soviet loan-some 2,000 works in all media, from paintings...

Author: /time Magazine | Title: Art: Futurism's Farthest Frontier | 7/9/1979 | See Source »

Previous | 113 | 114 | 115 | 116 | 117 | 118 | 119 | 120 | 121 | 122 | 123 | 124 | 125 | 126 | 127 | 128 | 129 | 130 | 131 | 132 | 133 | Next