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By Keith Christiansen

Many black and white and colour images of work. comprises heritage and outlines.

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14 Ehrenburg continues: “These are still projects. Tatlin’s model in a backyard. Sullen festivals. Instead of new things—patched-up workaday old Russia. Even the marvelous café ‘Pittoresque,’ made in 1917 by Iakulov and Tatlin (and then renamed ‘The Red Cockerel’)—stands abandoned, a wonderful toy in the hands of too grown-up people. “15 By making us enormous and threatening us with miniaturization, Tatlin’s model marshals the terror of scale as a socially productive force. Figure 33 . Vladimir Grigor’evich Shukhov, Comintern Radio Tower in Moscow, built in 1920, color photograph.

In Moscow lithography was used, but in Odessa paper was so scarce that the designs were transferred to plywood, displayed for a day, and then painted over with the most current news. Compositionally these images aimed to turn the “lie of bourgeois perspectivism”—the “sated gaze”—in on itself. The okna were the silent, Orthodox iconostasis transformed into a working rostrum—a fitting metaphor for the Revolution itself. And likewise, these illustrations depicted the unexpected intrusion of unseeable, even dangerous, worlds into the realm of the viewer.

Mayakovsky, see Peter N. Kenez, The Birth of the Propaganda State (New York and Cambridge: Cambridge University Press, 1985), 115-18. On paper propaganda in Africa, see Berit Sahlström, Political Posters in Ethiopia and Mozambique (Uppsala: Almqvist and Wiksell, 1990). 2 (Autumn 2003): 104. On icons and empathy, Arne Effenberger, “Images of Personal Devotion: Miniature Mosaic and Steatite Icons,” in Byzantium: Faith and Power (New Haven and London: Yale University Press, 2004), 209-15. , Alter Icons: The Russian Icon and Modernity (New Haven and London: Yale University Press, 2010).

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