New Moscow Monuments, or, States of Innocence
In the 1990s, the Georgian sculptor Zurab Tsereteli triggered a furor over the millions of tax dollars the Moscow city government paid him for his monumental art installations around the Russian capital. Critics have assailed such gross expenditure in a period of economic privation, questioned the p...
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| Veröffentlicht in: | American ethnologist 2001-05, Vol.28 (2), p.332-362 |
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| container_title | American ethnologist |
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| creator | Grant, Bruce |
| description | In the 1990s, the Georgian sculptor Zurab Tsereteli triggered a furor over the millions of tax dollars the Moscow city government paid him for his monumental art installations around the Russian capital. Critics have assailed such gross expenditure in a period of economic privation, questioned the propriety of Tsereteli's ties to power, and ridiculed his often cartoon-like aesthetics. In the embattled new Russian state, this infantilization of public space through government-sponsored art reprises a familiar discourse of timeless innocence in the service of state power. |
| doi_str_mv | 10.1525/ae.2001.28.2.332 |
| format | Article |
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| ispartof | American ethnologist, 2001-05, Vol.28 (2), p.332-362 |
| issn | 0094-0496 1548-1425 |
| language | eng |
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| source | Wiley Online Library Journals Frontfile Complete; Sociological Abstracts; JSTOR Archive Collection A-Z Listing |
| subjects | Aesthetics Asia Ethnology Europe Fairy tales Mayors Memorials & monuments Nationalism Political discourse Political philosophy Political power Power Public spaces Russia Russian culture Sculptors Social organization, political organization and power, relations with the State Social structure and social relations Socialism Stalinism State Statues Time Tsereteli, Zurab Visual artists |
| title | New Moscow Monuments, or, States of Innocence |
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