СОВЕТСКОЕ ИСКУССТВО ВТОРОЙ ПОЛОВИНЫ ХХ ВЕКА КАК ЧАСТЬ МИРОВОГО ХУДОЖЕСТВЕННОГО ПРОЦЕССА: ОСНОВНЫЕ МЕТОДОЛОГИЧЕСКИЕ ПОДХОДЫ И ПЕРСПЕКТИВЫ ИЗУЧЕНИЯ
Ключевые слова:
советское искусство, прогрессивное искусство, И. Голомшток, глобальный поворот, холодная война, русский поп-арт, П. Пиотровский, критическая географияАннотация
Статья посвящена анализу работ по истории искусства, в которых произведения советских художников рассматриваются в контексте мировых художественных процессов. Исследования, собранные и проанализированные автором, разделены на четыре блока. Блок «Социалистический интернационализм» представляет работы советских искусствоведов, написанные в 1950–1960-х гг., посвященные концепции мирового «прогрессивного искусства». Вторая группа работ – «Советское неофициальное искусство и западная художественная критика» – начинается текстами европейских и американских славистов и советских авторов-эмигрантов 1970–1990 гг. и продолжается работами российских кураторов 2000-х гг. Особенностью собранных здесь источников является общее для их авторов представление об универсальности критериев западной модернистской и постмодернистской теории искусства. В центре их внимания оказываются только те произведения, которые могут быть описаны при помощи этой теории. В контексте новейших художественных течений Европы и Америки неофициальное советское искусство оказывается периферийным явлением. В третьем разделе «Холодная война и глобальная история искусства» представлены тексты и выставочные проекты последних двух десятилетий. В это время, благодаря исследованиям культурной политики холодной войны, а также глобальному повороту, искусствоведы разрабатывают новые подходы к описанию произведений советских художников, а также универсальные категории для анализа глобального искусства ХХ в. Последняя группа исследований объединена темой «Критическая география» и посвящена теоретическому подходу, сформулированному П. Пиотровским. В рамках критической географии на первый план выходят явления, которые долгое время считались маргинальными, особое внимание уделяется международным контактам художников, а границы художественных центров не совпадают с границами государств. Искусство советских художников становится частью новых географических конгломераций.Библиографические ссылки
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