Avant-Garde Art in Ukraine, 1910–1930

“Shkandrij highlights an important Ukrainian dimension of
the avant-garde movement. … Undoubtedly, this book’s most important
contribution to scholarship is its focus on the Ukrainian dimension of the
avant-garde, that has long been neglected in the historiography. Shkandrij
notes that their peculiar group features have been obscured by their belonging
to the international movement (xi); or their association with the Russian
avant-garde. Such a view has become deeply embedded in public reception, as
seen from Wikipedia entries, or the controversy surrounding the debate to name
Kyiv airport after Malevich. To challenge this contested legacy, Shkandrij
offers to examine these artists’ self-identification and investigate national inspirations
for their artwork.” —Olena Palko, Birkbeck, University of London, European
History Quarterly

“In many ways [this] is a restorative history, one that decolonizes Ukrainian art and artists from the Soviet-period culturo-political domination that swallowed ‘smaller’ non-Russian cultures, and also broadens the understanding of what a Ukrainian artist was in those times. … The book is well researched and articulately written, and its clarity of presentation makes it accessible to both specialists and a general audience. … The book will become a standard for those interested in Ukrainian art of the avant-garde. It is important for a number of reasons. First, it identifies the nature of and the major figures of the Ukrainian avant-garde. It also places that avant-garde in the European context in which it rightfully belongs and with which Ukrainian figures interacted. Additionally, it restores several of those figures to Ukrainian culture despite persistent Russian efforts to appropriate them. Besides indicating similarities between members and movements of the avant-garde across national borders, the book shows differences intrinsic to artists from Ukraine. Thus it offers a richer picture of the era via its more inclusive and diverse approach, along with reasoned historical correctives.” —Michael M. Naydan, The Pennsylvania State University, Russian Review

“Myroslav Shkandrij’s Avant-Garde Art in Ukraine, 1910–1930: Contested Memory is a timely and urgently needed publication, as it presents Ukraine as a versatile, multiethnic country capable of harboring and nourishing complex artistic and intellectual endeavors. The book should be praised as material testimony to the author’s travails of many years in countering incredulity in the very category of the Ukrainian avant-garde and also in complicating this category, moving beyond nativist or ethnic approaches to the idea.”

—Olena Martyniuk, Kyiv-Mohyla Humanities Journal

“Myroslav Shkandrij’s collection of essays addresses the
discomfort with films like Enthusiasm and artists like Vertov in Ukraine today.
Remembering the avant-garde is now contested: Were they a tragic executed renaissance,
as Iurii Lavrinenko argued? Fellow travelers of a violent political project?
True believers or artists simply trying to make a living? This ‘contested
memory’ lies at the heart of Shkandrij’s book.”

—Mayhill C. Fowler, Stetson University, Harvard Ukrainian
Studies

“The most valuable aspects of Avant-Garde Art in Ukraine
come from Shkandrij’s ability to catalogue the Ukrainian aspects of his artists
and their artworks, to situate them in a criss-crossing network of Ukrainian
and European institutions, and to synthesize how they have been discussed in
Ukrainian-language scholarship. … Avant-Garde Art in Ukraine is a
thought-provoking volume that brings together many of the highlights of
Myroslav Shkandrij’s long, distinguished career as a fearless advocate and
thoughtful scholar of Ukrainian art. It establishes the Ukrainian origins of
many branches of the international avant-garde and contributes to the ongoing
debates about the regional and national character of modernism.”

—Nicholas Kupensky, H-Ukraine