Table of Contents
Introduction [Maria Taroutina and Galina Mardilovich];
PART I: Mobile Margins: Artists, Artworks, and Instituions;
Chapter One. Blood, Skin, and Paint: Karl Briullov in 1832: Allison Leigh;
Chapter Two: Iaroslavna’s Lament and its Echoes in Late Nineteenth-Century Russian Art: Alison Hilton;
Chapter Three: An Exercise in Close Looking: Ilia Repin’s They Did Not Expect Him: Galina Mardilovich;
Chapter Four: "Is disagreement among artists a good thing?": The End of Salon-Type Exhibitions in Russia and Western Europe: Andrey Shabanov;
Chapter Five: Blurring Boundaries: Mikhail Vrubel’s Decorative Turn and the Rise of Russian Modernism: Maria Taroutina;
Chapter Six: Idiosyncrasy as an Alternative Modernist Narrative: Steven Mansbach
PART II: Visualizing Ideology: New systems, Cold War Aesthetics, and Post-Socialist Memory;
Chapter Seven: Art in the Age of Binary Inversion: Russian Constructivist Graphic Design and the Interwar Grid: Kristin Romberg;
Chapter Eight: The Creative Mistakes of Socialist Realism: Maria Mileeva;
Chapter Nine: A Socialist Neo-Avant-Garde? The Case of Postwar Yugoslavia: Nikolas Drosos;
Chapter Ten: The Troubled Public Sphere: Understanding the Art Scene in Socialist Hungary: Katalin Cseh-Varga;
Chapter Eleven: The Nonidentity Problem in Contemporary Belarusian Art: Tatsiana Zhurauliova;
Chapter Twelve: Marking Memories, Mediating Histories in the Work of Deimantas Narkevičius: Ksenia Nouril;
Chapter Thirteen: History in the Future Tense: On Recent Installations by Igor Makarevich and Elena Elagina: Jane A. Sharp
