New Moscow monuments, or, states of innocence

Bruce Grant

    Research output: Contribution to journalReview article

    Abstract

    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.

    Original languageEnglish (US)
    Pages (from-to)332-362
    Number of pages31
    JournalAmerican Ethnologist
    Volume28
    Issue number2
    StatePublished - May 2001

    Fingerprint

    monument
    art
    cartoon
    public space
    taxes
    dollar
    critic
    aesthetics
    expenditures
    discourse
    economics

    Keywords

    • Art
    • Monuments
    • Moscow
    • Russia
    • State power
    • Time

    ASJC Scopus subject areas

    • Anthropology

    Cite this

    New Moscow monuments, or, states of innocence. / Grant, Bruce.

    In: American Ethnologist, Vol. 28, No. 2, 05.2001, p. 332-362.

    Research output: Contribution to journalReview article

    Grant, B 2001, 'New Moscow monuments, or, states of innocence', American Ethnologist, vol. 28, no. 2, pp. 332-362.
    Grant, Bruce. / New Moscow monuments, or, states of innocence. In: American Ethnologist. 2001 ; Vol. 28, No. 2. pp. 332-362.
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