Lecture on Russian avant-garde art

The ICON Paintings Group

Invite you to a talk given by

Maria Kokkori
Postdoctoral Fellow at the Courtauld Institute of Art

"The making and Meaning of Russian Avant-Garde"
Tuesday, 8 November 2011

Doors open at 6pm talk begins at 6.30pm prompt

In the Grand Robing Room at Freemason's Hall
60 Great Queen Street
London WC2B 5AZ

Close to both Covent Garden and Holborn Tube Stations

Doors open at 6pm

Tickets: ICON members:  UKP10, non- members: UKP15

Please register by sending your name and stating if you are an ICON
member

Your name must be on the security list no later than

Friday, 4 November 2011

Free wine and cheese inc. in price of ticket

RSVP

    Clare Finn
    +44 20 7937 1895
    finnclare<-a t->aol< . >com

This paper will focus on materials and techniques used for paintings
and works on paper made between 1905 and 1925 by the Russian
avant-garde artists Kazimir Malevich, Liubov Popova and Aleksandr
Rodchenko. Trends in the artists' use of materials, including
pigments and binding media, change in painting style and the
handling of materials will be examined along with reference to
documented accounts of their aims and practice, as well as the
influence of contemporary painters with which they associated.
Practices, themes, and attitudes will be explored within the broader
context of the Russian modernism.

Dr. Maria Kokkori holds a BSc in chemistry, an MA in conservation of
easel paintings and gained her PhD 'Russian Avant-Garde: A
historical contextualization of selected paintings by Kazimir
Malevich, Ivan Kliun and Liubov Popova c.1905-1925' at the Courtauld
Institute of Art in 2008.

Her postdoctoral fellowship at the Courtauld Institute developed one
area of study that emerged as significant from her PhD thesis with a
focus on the technical examination of Russian constructivist works.
She has examined works from the George Costakis collection,
Stedelijk Museum, Tate Gallery, the Rodchenko and Stepanova Archives
in Moscow and the Museum of Modern Art in New York.

During 2009-2011 she was a research fellow of the Malevich Society
in New York. Her project investigated Kazimir Malevich's teaching
activities at the Vitebsk Art School in Belarus between 1919 and
1923 focusing on theory and studio practices.


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