Monograph of the Union of Romanian Artists’ (UAP)

On the basis of archival documents and the studies consulted, Caterina Preda wrote a monograph study about the UAP and the state artist, which is prepared for publication. The book titled Uniunea Artiștilor Plastici din România (1950-2010): de la ”artistul de stat” la artistul dependent de statCrearea unei conștiințe socialiste artistice și reziduurile sale instituționale în postcomunism [The Romanian Artists’ Union of Romania (1950-2010): from the state artist to the artist dependent on the state. The creation of a socialist aristic consciousness and its institutional residues in post-communism] includes seven chapters, along with the preface, the introduction and annexes. Along with the preface, which presents the volume realized in the TE project, the Introduction describes the theoretical approach and the main references used in the book.

The first part of the book, “The State Artist (1950-1990)” includes 5 chapters. Chapter 1 “From the Syndicate of Fine Arts to the Union of Romanian Artists of RPR (1950)” describes and analyzes the establishment of the Union and the period of the 1940s when several entities existed dedicated to the defense of the rights of artists. Chapter 2 “UAP as the new ideological framework of institutionalized creation and the consolidation of the state artist in the 1950s” analyzes the establishment of Socialist Realism through measures adopted by the state, among which the guidance commissions and the planning of artistic activity. Chapter 3 “The bureaucratization of visual arts’ activity. The institutional framework of the Union and its immobile patrimony” documents the functioning of the Union from the institutional point of view and analyzes the different entities which were part of the UAP, among which the FP. Chapter 4 “The ideological dynamic of the UAP: from Socialist Realism through Socialist humanism to Realist humanism or Ceausescu’s realism” analyzes the ideological evolution of the Union and its transformation during the Ceausescu regime. In Chapter 5 “The relationship between the UAP and the state and party institutions: mediator of the cultural space or ideological and political subordination” analyzes the way in which the Union is included in an institutional system submitted to the Ministry of Culture under its different names.

The second part, “The Artist dependent on the state (1950-2010)” includes two chapters. Chapter 6, “The transformation of the UAP of Romania (UAPR) after 1990 and the change of the role of the artists: between autonomy and the dependence of the state” analyzes the modalities through which the Union was changed after 1990 and the reminiscences of the former model dominated by the state. Finally, Chapter 7 “The inheritance of the unions in democracy” offers the conclusions regarding the evolution of the Union in the interval 1950 to 2010.

The volume includes along with a bibliography, annexes which represent the results of the research project, such as the List of the monuments realized in Bucharest during the period 1950 to 2010, the List of members of the UAP between 1950 to 2010, Interviews with members of the UAP, as well as other documents from the archives we consulted (ANIC, CFP, AMC, CNSAS).

 

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Report 2017

Scientific report regarding the implementation of the project PN-II-RU-TE-2014-4-0243 – From the state artist to the artist dependent on the state the Union of Visual Artists of Romania (1950-2010) the Bucharest branch.  Contract 206/2015.

 Stage 3 of the project (1.01-30.09.2017)

 Activities of the project

  1. organization and administrative activities

In the third stage of the project the composition of the team was changed as Cristina Stoenescu’s contract ended on March 1st, 2017. During the period 1 March – 30 September 2017 the members of research team were: Caterina Preda, Alina Popescu, Dumitru Lăcătușu, Dan Drăghia.

 

  1. Scientific activities

Consulting the archives about the Romanian Artists’ Union – the Bucharest branch (Uniunea Artiștilor Plastici – filiala București)

In 2017 the project’s director Caterina Preda had partial access to the archive of the Ministry of Culture (AMC). The Ministry of Culture allowed us very late to have access to their archives arguing for the lack of an archivist and the control upon the archive by the SRI. Thus, we only partially consulted the files they hold for the period 1950-1973, as we were not given access to files from the later years (1980s-2000s). The team continued to research the files from the Central National Historical Archives (ANIC), the National Council for the Study of the Securitate Archives (CNSAS) and from the Union of Romanian Artists of Romania, which are stored at the Combinatul Fondului Plastic (ACFP).

Consulting other sources and the scientific literature on the research topic

We have continued the exploration of the scientific literature existing about our research topic in the libraries in Bucharest: the Central University Library (BCU), the National Library, the UAP Library, the NEC Library, the Library of the Department of Political Science, University of Bucharest, the Library of the Art History Institute G. Oprescu, the Library of the National University of Art, the Academy Library. For the writing of the monograph study about the UAP we have also consulted the press of the 1940 and 1950s, and respectively of the 1990s at the BCU and the resources of the Photo-archive of the Academy Library in Bucharest.

Scientific meetings with the members of the research team

We have organized meetings with the members of the research team every two weeks to discuss and coordinate the research activities and so as to solve eventual problems we encountered. The members of the team participated to several national and international conferences together.

Interviews

Together with Cristina Stoenescu, the director of the project Caterina Preda realized a series of interviews with the members of the UAP of Romania, which are included as annexes to the monograph study about the UAP written by Caterina Preda. The audio interviews were realized with: Dan Perjovschi, Magda Cârneci, Aurelia Mocanu, Cristina Russu, Petru Lucaci, Vasile Pop Negreșteanu). Along with them, we also had access to other oral sources through the archive of Atelier 35, which was made available to us by the members of the project.

Planned results in the third stage of the project

In 2017 we wanted to finish the volume with presentations from the international conference organized in the framework of the project in November 2016. We also wanted to finish the two data-bases with the members of the UAP and with the monuments realized by the UAP Bucharest. Finally, we wanted to prepare the publication of the monograph study about the UAP branch in Bucharest.

Results obtained during the third stage of the project

  1. In 2017 I edited and published (April 2017) the volume which includes a part of the presentations made during the conference of November 2016 (The State Artist in Romanian and Eastern Europe): Caterina Preda (ed.), The state artist in Romania and Eastern Europe The Role of the Creative Unions (Bucharest University, 2017) 402 pages [ISBN 978-606-16-0852-2]. In volume are included 13 chapters and annexes, amongh which the studies authored by the members of the team: Caterina Preda wrote ”Introduction: The State Artist in Romania and Eastern Europe: a Theoretical Outline”, Alina Popescu wrote ”Des Unions professionnelles et pour la création dans la Roumanie communiste: une comparaison institutionnelle entre l’Association des Cinéastes et l’Union des Artistes”, Dan Drăghia, „”Tovarășul artist” Conformism și beneficii în organizarea profesională a artiștilor plastici din România comunistă”, Dumitru Lăcătușu, „Evoluția relației dintre artiștii plastici și Securitate în perioada 1950-1990” and Cristina Stoenescu, „The transformation of the Romanian Artists’ Union after 1990: the case of Atelier 35”.
  2. The two databases realized during the project are accessible on the website of the project https://artistuldestatuap.wordpress.com/. The database with the members of the UAP in the period 1950-2010 includes both the table with all the names for the entire period, as well as tables for the different decades (1950s, 1960s, 1970s, 1980s, 1990s, and the 2000s), and, if we had enough data, other statistical information about the members. The database with monuments realized by UAP Bucharest during the period 1950-2010 is based on the data identified in the archival documents to which we had access to. Thus, the database identifies 288 monuments in Bucharest; besides the year of the monument, its author, and information on its location, we included details about the material, its dimensions, the price and the archival source used.

 

  1. In 2017 I wrote on the basis of archival documents and the studies consulted, a monograph study about the UAP and the state artist, which is prepared for publication. The book titled Uniunea Artiștilor Plastici din România (1950-2010): de la ”artistul de stat” la artistul dependent de stat. Crearea unei conștiințe socialiste artistice și reziduurile sale instituționale în postcomunism [The Romanian Artists’ Union of Romania (1950-2010): from the state artist to the artist dependent on the state. The creation of a socialist aristic consciousness and its institutional residues in post-communism] includes seven chapters, along with the preface, the introduction and annexes. Along with the preface, which presents the volume realized in the TE project, the Introduction describes the theoretical approach and the main references used in the book. The first part of the book, “The State Artist (1950-1990)” includes 5 chapters. Chapter 1 “From the Syndicate of Fine Arts to the Union of Romanian Artists of RPR (1950)” describes and analyzes the establishment of the Union and the period of the 1940s when several entities existed dedicated to the defense of the rights of artists. Chapter 2 “UAP as the new ideological framework of institutionalized creation and the consolidation of the state artist in the 1950s” analyzes the establishment of Socialist Realism through measures adopted by the state, among which the guidance commissions and the planning of artistic activity. Chapter 3 “The bureaucratization of visual arts’ activity. The institutional framework of the Union and its immobile patrimony” documents the functioning of the Union from the institutional point of view and analyzes the different entities which were part of the UAP, among which the FP. Chapter 4 “The ideological dynamic of the UAP: from Socialist Realism through Socialist humanism to Realist humanism or Ceausescu’s realism” analyzes the ideological evolution of the Union and its transformation during the Ceausescu regime. In Chapter 5 “The relationship between the UAP and the state and party institutions: mediator of the cultural space or ideological and political subordination” analyzes the way in which the Union is included in an institutional system submitted to the Ministry of Culture under its different names. The second part, “The Artist dependent on the state (1950-2010)” includes two chapters. Chapter 6, “The transformation of the UAP of Romania (UAPR) after 1990 and the change of the role of the artists: between autonomy and the dependence of the state” analyzes the modalities through which the Union was changed after 1990 and the reminiscences of the former model dominated by the state. Finally, Chapter 7 “The inheritance of the unions in democracy” offers the conclusions regarding the evolution of the Union in the interval 1950 to 2010. The volume includes along with a bibliography, annexes which represent the results of the research project, such as the List of the monuments realized in Bucharest during the period 1950 to 2010, the List of members of the UAP between 1950 to 2010, Interviews with members of the UAP, as well as other documents from the archives we consulted (ANIC, CFP, AMC, CNSAS).

Participation to international conferences by the members of the project

  • The members of the research team participated to the conference “Art history, artists and specific institutions in Romania (1949-2010)” organized by the Art History Institute G. Oprescu, Romanian Academy (29 March 2017). Caterina Preda presented a paper “UAP and the building of a socialist consciousness of the state artist” Dumitru Lăcătușu “Surveyors and pursued. The Securitate and visual artists during communism” and Dan Drăghia presented “Building a past for the party: topics and artworks from the history of the workers’ movement in communist art”
  • Caterina Preda organized a panel „Art and politics in the dictatorships of the Southern Cone: A Comparison” at the International Congress of the Latin American Studies Association, LASA (29 April – 1 May 2017) at the Catholic University in Lima.
  • Dan Drăghia presented ”‘Prince and beggar’. The social condition of the visual artist during Romanian communism” at the conference The social history of Romanian communism (4-5 May 2017), Cluj.
  • Dan Drăghia coordinated the panel: „Art for the Masses: Popular, National and the Distorted Imaginary of Western Values in the Romanian Arts during Communism” organized at the SCOPE 2017 (Science of Politics – International Interdisciplinary Conference of Political Research), (26-28 May 2017) at the Institute of Political Research, Department of Political Science, University of Bucharest. The panel included the presentations by two members of the research’ team: Dan Drăghia, „Western versus ’People’s Democracy as Reflected in the Communist Visual Arts” and Alina Popescu “Pessimistic, Superficial, Lacking Enthusiasm”: The Guiding Commissions of the Union of Romanian Artists and the Building of a National and Socialist Art during the 1950s”.

Additional results

  • Caterina Preda published the book Art and Politics under Modern Dictatorships A comparison of Chile and Romania, (Palgrave Macmillan July 2017) (ISBN: 978-3-319-57269-7)
  • Caterina Preda edited a special issue of the journal of political science, Studia Politica Romanian Political Science Review (issue 3/2017) indexed in several international databases (Scopus, CEEOL, ProQuest, SSOAR, EBSCO) which is currently being published (October 2017). In this special issue, “Creating for the state: the relationship between artists and the state during communism” are included articles by Caterina Preda, ”Creating for the State: an Introduction”, Alina Popescu, ” Uniunea Artiștilor Plastici din România, mediator al dialogului artistic cu Estul și Vestul în anii 1950-1980”, and Dumitru Lăcătușu, ” Biografii transideologice: cazul sculptorului Ion Irimescu”. Other members of the research team (Cristina Stoenescu) wrote reviews of important volumes on the topic of our research project.
  • Caterina Preda, ”The Role of Art in Dealing with the Communist Past” chapter published in the volume Justice, Memory and Redress in Romania New Insights edited by Lavinia Stan and Lucian Turcescu (Cambridge Scholars, 2017), pp. 166-189. [ISBN: 1-4438-3152-2]

 

 

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Database with the monuments realized by the UAP Bucharest branch

This database includes the monuments we could identify in the archives kept by the UAP and which are now found at the National Archives of Romania (ANIC) and at the Combinatul Fondului Plastic (CFP). We have included 287 monuments realized in Bucharest in the period 1950-2010. For the period 1990-2010 when the UAP ceased to be the main producer of public monuments we have included those monuments realized by members of the UAP.

The database is meant as a research tool for further researches of the monuments of Bucharest, or those realized by the UAP. The final database was realized by Dan Drăghia on the basis of the documents collected by all the members of the research team (Dan Drăghia, Dumitru Lăcătușu,Alina Popescu, Caterina Preda, Cristina Stoenescu) .

We included as monuments, statues, busts, reliefs, mosaics, which were meant to decorate a public space (squares, streets, parks, gardens, institutions, factories – inside or outside, etc.).  The information found in the archives is fragmentary so for each monument we have included all the information we could identify. For example, for „dimensions” only half of the monuments have indications in this sense, and the „date” of the monument refers to the year it was created and placed in the public space. In what concerns „the place (localizare)” the sources we studied include references to the institution that ordered the monument, the beneficiary, and its placement. Where the current placement is unknown we kept the reference to its initial placement as it appeared in the documents.

The database with the monuments realized by the UAP Bucharest branch in the period (1950-2010). See more details about the database (in Romanian).

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Database with the members of the UAP Bucharest branch

DSCF1336This database includes all the members of the Union of Visual Artists in the period 1950-2010 as well as the summary of the number of members per decade, in the 1950s, 1960s, 1970s, 1980s, 1990s and 2000s. The data was collected by the members of the research team who were helped by the voluntary Oana Barbu. The data was found in the archives of the Union kept by the National Archives of Romania (ANIC), the Union itself at the Combinatul Fondului Plastic (CFP), and the archives of the former Securitate (CNSAS). The database is meant as a research tool for the study of the Union and its different sections, or local branches in the country.

The database with the members of the UAP (1950-2010).

The database with the members of the UAP in the 1950s.

The database with the members of the UAP in the 1960s.

The database with the members of the UAP in the 1970s.

The database with the members of the UAP in the 1980s.

The database with the members of the UAP in the 1990s.

The database with the members of the UAP in the 2000s.

 

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“Art for the masses” (Scope 2017)

As part of the research project PN-II-RU-TE-2014-4-0243 “From the ‘state artist’ to the artist dependent on the state: the Union of Visual Artists (of Romania) (1950-2010) – the Bucharest branch’ financed by the UEFISCDI” Dan Draghia, member of the research team chaired a panel: Art for the Masses: Popular, National and the Distorted Imaginary of Western Values in the Romanian Arts during Communism at the International conference SCOPE 2017 – Democracy in development: comparative perspectives on the governance of the public good (26-28.05.2017) at the Faculty of Political Science, University of Bucharest.  The panel included 3 presentations and a discussant.

Chair – Dan Drăghia (FSPUB)

Discussant – Ștefan Bosomitu (IICCMER)

 Dan Drăghia, Western versus ’People’s Democracy as Reflected in the Communist Visual Arts 

Rejecting the Western (liberal-democratic) values is not a recent trend in Romania. We can trace some roots of local anti-Occidentalism as far back as the 1848 Revolution, some arguing that even much sooner. But opposing these values in a more elaborate manner, mocking and distorting them for the benefit of the political regime, can be seen first during communism, which legitimized itself in this way. Official propaganda during communism was very aggressive towards Western imperialism, using any means available to instate this conceptualization upon Romanian society. Besides the written word, one of the most useful tools through which Western values were demonized and reinterpreted was art in general, and visual arts in particular. ‘Visual propaganda’ represented one of the main functions of the artistic field and its institutions, especially the Union of Visual Artists (UAP) and its bodies. ‘Anti-imperialistic’ propaganda was omnipresent in the documents of the UAP, and very well reflected in the artistic production. This paper discusses the way in which ‘anti-imperialism’, democracy and ‘people’s democracy’ were reflected in the policies and the production of Romanian artists during communism. We will try to see how topics like militarism, unemployment, inequality, justice, voting and other general political topics were designed and depicted in the visual arts during communism, both in their ‘bad’ anti-imperialistic interpretation, and in the ‘proper’ Romanian adaptation. Furthermore, we will also draw some comparisons with the way in which these types of ‘democratic’ ideas are presented today by the local national-populist voices.

Alina Popescu (CEREFREA), “Pessimistic, Superficial, Lacking Enthusiasm”: The Guiding Commissions of the Union of Romanian Artists and the Building of a National and Socialist Art during the 1950s

 This paper investigates the contribution of the Romanian Union of Artists to the development of an art “national in form, socialist in content”, but also of a professional and politically engaged group of artists during the 1950s. On an institutional level, this purpose was expected to be largely accomplished through the activity of guiding commissions (“comisii de îndrumare”) established in various art fields. As the name suggests, these commissions were in charge with the political, technical and esthetical guidance of artists, at a national scale. They were especially concerned with artists that were commissioned for the Annual State Exhibition, but their members were permanently looking for artists with socialist realist views and for those prone to “formalism” or “cosmopolitism”. Many archive documents attest the intense and challenging activity of these commissions, whether it concerned their own lack of rigorous methods of work, the conflicts with Party’s bureaucrats or the difficulties of maintaining a connection with the provinces. The guiding commission’s reports register very often the difficulties artists encountered in adopting the socialist realist method, despite all the instructions received. The paper focuses especially on the activity of the guiding commission in the field of painting, one of the most important arts in the hierarchy established within the Union. In order to examine its efforts in introducing a new understanding of art, special attention will be paid to the organisation and functioning of the commission within the Union of Artists and its discursive practices of guidance.

Gabriela Filippi (UNATC), A cinema for the millions: the puzzling Romanian musical films of the 1960s 

The historical socialist regimes often insisted on the production of a “democratic art” (an „art for the millions”, as defined by the famous soviet phrase), opposed to the formal experimentations enjoyed only by a few initiated. In doing so, they often drown upon the film genres as developed mostly in the American cinema. This paper, focusing on the musicals, explores how western formula of genre films was adapted to the Romanian context of a socialist cinema in the 1960s. In that decade, marked by the cultural thaw, the Socialist Republic of Romania discarded the unattractive doctrine of socialist realism, in exchange for the so-called “humanistic realism”. This implied more diversified subject matters and, in cinema, the production of historical films, romances, musicals, adventure and mystery films etc. Furthermore, cinema industry became dependent on the entertainment as it was mainly financed from the returns. Still, as the cultural representatives insisted, the educative mission remained essential, its main objective being that of developing the socialist consciences of the viewers. This has produced intriguing melanges of western and eastern mentalities.

 

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‘Prince and beggar’. The social condition of the visual artist during Romanian communism

Dan Drăghia presented ‘Prince and beggar’. The social condition of the visual artist during Romanian communism at the conference The Social history of Romanian communism (4-5 May 2017) at the Faculty of History and Philosophy – University Babeș-Bolyai Cluj-Napoca organized by the Institutul de Investigarea a Crimelor Comunismului și Memoria Exilului Românesc together with Facultatea de Istorie și Filosofie, Universitatea „Babeș-Bolyai” Centrul de Studiere a Populației, Universitatea „Babeș-Bolyai”.
IMG_6983
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Art history, artists and specific institutions in Romania (1949-2010)* 29 March 2017

Romanian Academy, The Institute of art history G. Oprescu”

Art history, artists and specific institutions in Romania (1949-2010)* 29 March 2017

29 March 2017

11.00 – 12.15. Presentations and discussions

Moderator: Alin Ciupală

Caterina Preda, Uniunea Artiștilor Plastici and the building of a social consciousness of the state artist

Dumitru Lăcătușu,  Supervisers and followed. The Securitate and visual artists during communism 

Dan Drăghia, Building a past for the party: themes and works of the history of the workers movement in communist art  

 12.15 – 12.30. Pause

12.30 – 13.45. Presentations and discussions

Marian Țuțui, Isabella Drăghici, Cristina Cojocaru, Carmen Popa, Ramona Caramelea, The history of the Institute of art history „G. Oprescu” (1949-1969)

13.45 – 14.00. Conclusions

The conference discussed two research projects: From the state artist to the artist dependent on the state. The Union of Visual Artists of Romania (1950-2010). The Bicharest branch. coordinated by  dr. Caterina Preda, Facultatea de Științe Politice, Universitatea din București and The history of the Institute of art history „G. Oprescu” (1949-1989), coordinated by prof. dr. Adrian-Silvan Ionescu, Romanian Academy, The Institute of art history G. Oprescu”.

 

 

 

 

 

 

 

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The State Artist in Romania and Eastern Europe The Role of the Creative Unions (Ed. Universitatii din Bucuresti, 2017)

The volume The State Artist in Romania and Eastern Europe  The Role of the Creative Unions edited by Caterina Preda and published by the Editura Universitatii din Bucuresti in 2017 is a collection of studies which were presented during the international conference with the same name organized at the Department of Political Science, University of Bucharest on the 5th of November 2016.

coperta volum The State Artist

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CFP Creating for the state: the unions of artists and the state artists during the communist regimes in Eastern Europe

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Call for articles for a special issue of Studia Politica (Issue 3 of 2017)

Editor: PhD Lecturer, Caterina Preda (Department of Political Science, University of Bucharest) caterina.preda@fspub.unibuc.ro

http://www.studiapolitica.eu/

Creating for the state: the unions of artists and the state artists during the communist regimes in Eastern Europe

An understudied topic of the establishment, functioning, and demise of the communist regimes, the (creative) unions of artists in Eastern Europe and the Soviet Union represent a fascinating topic of research, which best captures the relationship between the artists and the state. This relationship was not static, but evolved in time in the decades from the 1950s to the 1990s, and was further on transformed by the change of regime at the beginning of the 1990s. The state artists, those that accepted to create for the new communist states, were one of the main effects of the establishment of the new regimes. While public orders existed prior to 1945, their importance grew extensively in the decades of communism and the forms it took transformed the public function of art. We invite contributions on the topic of the unions of artists, the state artists (especially specific cases of artists), the types of refusals the artists were able to engage in, as well as on the transformations of this context after 1990/1991. The main topics that can be touched upon, among others are:

  • the (creative) unions of artists (visual arts, music, theater, cinema)
  • relations between the unions of artists
  • the “state artists” – portraits of specific artists
  • professional artists versus amateurs
  • painting the leaders – the official iconography
  • types of public orders and types of patrons (factories, ministries, etc.)
  • the changing roles of the unions of artists after 1990/1991
  • state exhibitions

 

 

Guidelines for the articles

Those interested should send their articles until April 15, 2017 and they will be notified of the acceptance or not of their contribution, by May 15.

 

Manuscripts will be accepted on the understanding that their content is original and that they have not been previously published in a different form or language. No manuscript will be considered for publication if it is concurrently under consideration by another journal or press or is soon to be published elsewhere. The manuscripts submitted should be written in academic English, French or Romanian in order to be considered for review.

 

The manuscripts should have 8.000-9.000 words. They must include an abstract (maximum 200 words), keywords (maximum 5) and the author’s short biography (200 words), current affiliation and email address.

 

The manuscript should be in MS Word format, and the document must be set at the A4 paper size standard. The document (including the footnotes and bibliography) will be 1 line spaced with 2.5 cm margins on all sides. A 12-point standard font such as Times New Roman should be used for all the text, including headings, notes and bibliography.

 

Submissions should conform to the notes and bibliography version of Studia Politica.s
Manuscripts will comply with Studia Politica style in matters of punctuation, capitalization and the like. The articles should have footnotes and conform to the following format:

  • references to books should list author(s), title, publisher, place of publication, year;

ex.: Giovanni SARTORI, Theory of Democracy Revisited, Chatam House, Chatam NJ, 1987.

  • references to journal articles should list author(s), title of article, journal name, volume, year, and inclusive pages;

ex.: Giovanni SARTORI, “What is ‘Politics’?”, Political Theory, vol. I, no. 1, 1973, pp. 5-26

  • references to works in edited volumes should list author(s), essay title, volume editor(s), volume title, publisher, place of publication, year, and inclusive pages.

ex.: Mauro CALISE, “Presidentialization, Italian Style”, Thomas POGUNTKE, Paul WEBB (eds.), The Prezidentialization of Politics, Oxford University Press, Oxford & New York, 2005, pp. 88-106.

 

Manuscripts submitted for review are evaluated anonymously by two scholars, one of which will be often a member of the Advisory Board. However, the Editors alone are responsible for every final decision on publication of manuscripts. The Editors may suggest changes in the manuscript in the interest of clarity and economy of expression. Such changes are not to be made without consultation with the author(s). The authors should ensure that the manuscript is submitted in final form.

 

Manuscripts that do not comply with these requirements will not be accepted.

http://www.studiapolitica.eu/calls-for-papers-1/callforpapersspecialissue-creatingforthestatetheunionsofartistsandthestateartistsduringthecommunistregimesineasterneurope

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Call for Conference Papers for a Panel on: “Creating for the state: forms of artistic (dis)engagement with the communist regimes. The unions of artists and the state artists”

49th Annual Convention of the Association for Slavic, East European, and Eurasian Studies – ASEEES (9-12 November 2017, Chicago USA)

The theme of this year convention of the ASEEES is Transgressions. In this context, this panel seeks to bring together scholars interested by the study of the institutions of the unions of artists in Eastern Europe and the Soviet Union. They had at their fore the “state artists” (Haraszti), being given important commissions by the state institutions to create in the new ideological approach of Socialist Realism and its different, national adaptations. Some possible topics include (but are not limited to):

  • the (creative) unions of artists (visual arts, music, theater, cinema)
  • relations between the unions of artists
  • the “state artists” – portraits of specific artists
  • professional artists versus amateurs
  • painting the leaders – the official iconography
  • types of public orders
  • the changing roles of the unions of artists after 1990/1991
  • state exhibitions

Those interested should submit a 250 words abstract and a brief author biography to the chair Caterina Preda (caterinapreda@gmail.com) by February 10, 2017.

 

ion-irimescu-1907

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