FloodZone is Miami-based Russian photographer Samoylova's account of life on the knife-edge of the Southern U.S.: in Florida, where sea levels are rising and hurricanes threaten. These beautifully subtle and often unsettling images capture the mood of waiting, of knowing the climate is changing, and of living with it.

[This catalogue was published on the occasion of the Exhibition "Contemporary Photographic Art from Moscow" ; Neuer Berliner Kunstverein, 29. September bis 12. November 1995 ; Ifa-Galerie Friedrichstrasse, 29. September bis 5. November 1995 ; Akademie der Künste, 29. September bis 29. Oktober 1995 ; AES Group ...].

Item chiefly consists of photographs of the homeless in the artist's hometown of Kharkov in the Ukraine.

"The University of the Arts; Lamar Dodd School of Art, University of Georgia."

Photography possesses a powerful ability to bear witness, aid remembrance, shape, and even alter recollection. In Beyond Memory: Soviet Nonconformist Photography and Photo-Related Works of Art, the general editor, Diane Neumaier, and twenty-three contributors offer a rigorous examination of the medium's role in late Soviet unofficial art. Focusing on the period between the mid-1950s and the late 1980s, they explore artists' unusually inventive and resourceful uses of photography within a highly developed Soviet dissident culture. During this time, lack of high-quality photographic materials, complimented by tremendous creative impulses, prompted artists to explore experimental photo-processes such as camera and darkroom manipulations, photomontage, and hand-coloring. Photography also took on a provocative array of forms including photo installation, artist-made samizdat (self-published) books, photo-realist painting, and many other surprising applications of the flexible medium. Beyond Memory shows how innovative conceptual moves and approaches to form and content-echoes of Soviet society's coded communication and a Russian sense of absurdity-were common in the Soviet cultural underground. Collectively, the works in this anthology demonstrate how late-Soviet artists employed irony and invention to make positive use of difficult circumstances. In the process, the volume illuminates the multiple characters of photography itself and highlights the leading role that the medium has come to play in the international art world today. Beyond Memory stands on its own as a rigorous examination of photography's place in late Soviet unofficial art, while also serving as a supplement to the traveling exhibition of the same title.

"Published in conjunction with the exhibition The original copy: photography of sculpture, 1839 to today, at the Museum of Modern Art, New York (August 1-November 1, 2010)"--T.p. verso.

Chiara Dynys's oeuvre in a major monograph in limited edition included in a sculpture by the artist.This volume, edited by Giorgio Verzotti, covers the oeuvre of the artist with previously unpublished essays on the notion of duality. All of the most important production of Chiara Dynys is told through the photos of still lifes and large installations in public spaces where she has been on view this past year: from the Museo Correr in Venice to MACRO in Rome and the historic Villa Reale in Monza.The book (in Italian-English bilingual edition) is a limited special edition of 500 copies in a plexiglas slipcase made by the artist herself. The slipcase evokes the series Look at You, one of her most famous, and was conceived to exist independently from the volume as an actual sculpture: an exclusive plexiglas case with reflective surface and various colours that, thanks to the silvering that conceals a monochrome, deceives the gaze of the viewer.Chiara Dynys was born in Mantua and works in Milan. Right from the start of her practice in the early 1990s, she has worked with two main concepts, both stemming from a single approach to reality: identifying in the world and in forms the presence and sense of anomaly, of variation, of the "threshold" that allows the mind to shift from human reality to an almost metaphysical stage.In order to do so, she uses seemingly eclectic materials, which range from light to glass, mirrors and ceramic, welding, textiles, video and photography. Chiara Dynys has taken part in numerous solo and group shows in important public and private museums and cultural institutions in Italy and abroad.

This text provides a source of citations to North American scholarships relating specifically to the area of Eastern Europe and the former Soviet Union. It indexes fields of scholarship such as the humanities, arts, technology and life sciences and all kinds of scholarship such as PhDs.

The fourth volume in a history of photography, this is a bibliography of books on the subject.

The rich tradition of French painting was an important influence on Russian art from the mid-nineteenth century to the 1920s, a period that saw the rise of many of the most important movements in modern art. A magnificent visual record of an unprecedented event, this book, the catalogue of an ambitious exhibition of master paintings from the four greatest museums of Russia, examines the interaction of these two great cultures. Drawing on the collections of the State Russian Museum and the Pushkin Museum in Moscow and the Tretyakov Gallery and the State Hermitage Museum in St. Petersburg, the book presents outstanding examples of Salon painting, Impressionism, Fauvism, and Cubism in France, and related movements in Russia, among them The Wanderers, Constructivism, and Suprematism. Paintings by Renoir, Cezanne, Van Gogh, Gauguin, and Matisse are reproduced, along with works by Kandinsky, Tatlin, and Malevich. Key episodes in the story of this fascinating exchange include the vital role played by the great Russian collectors Ivan Morosov and Sergei Shchukin, whose preeminent collections of French art were an inspiration to the Russian avant-garde; the ballet impresario Sergei Diaghilev's promotion of Russian art in France in 1906; and Henri Matisse's visit to Russia in 1911.