AVANT, also known as AVANT street art guerrilla collective, was the artist group active in New York City from 1980 to 1984. By 1984 AVANT had produced thousands of acrylic on paper paintings and plastered them on walls, doors, bus-stops and galleries city-wide. Principal artists were Christopher Hart Chambers, David Fried, and Marc Thorne.

AVANT was a group of five young New York artists working collectively who wheat pasted handmade original poster sized works of non-calligraphic art in the streets of NYC. While the members of Avant assert that they began in the winter of 1980, the earliest available press documentation of their street art or art exhibitions is found in the New York Native from June 1982, wherein a later article published in the Villager places their origins at January 1981. By 1984 avant had produced thousands of acrylic on paper paintings and plastered them on walls, doors, bus-stops, galleries and museums city wide, concentrated mostly in lower Manhattan. As a group, they were capable of producing hundreds of individual paintings per week, and deployed them in the streets on a regular basis. They also mounted three dimensional artworks to street sign poles and commandeered bus stop advertising light boxes, replacing the contents with their own original works of art, then relocking the cabinets. Over 40 exhibitions of AVANT's work were held in New York galleries and nightclubs between 1981 and 1884. Over a typical artist-gallery financial dispute, they actually managed to commandeer a gallery in Soho to open the 1982 September season with a self curated exhibition. Another fresh concept was to start an exhibition in the street that would continue into a gallery. They called this the “Drive-In Show,” which started with a dozen numbered oversized paintings pasted high up on a parking lot wall in Soho, and continued up the block in Gabrielle Bryers Gallery starting with painting number 13.

Gallery

References

External links

AVANT historical archive

Category:Artists from New York

bgcolour	#DEDEDE
name	Alexander Rodchenko
birth name	Aleksander Mikhailovich Rodchenko
birth date	December 05, 1891
birth place	St. Petersburg
death date	December 03, 1956
death place	Moscow
nationality	Russian
field	painting, photography
movement	Constructivism
awards	}}

Aleksander Mikhailovich Rodchenko (; – December 3, 1956) was a Russian artist, sculptor, photographer and graphic designer. He was one of the founders of constructivism and Russian design; he was married to the artist Varvara Stepanova.

Rodchenko was one of the most versatile Constructivist and Productivist artists to emerge after the Russian Revolution. He worked as a painter and graphic designer before turning to photomontage and photography. His photography was socially engaged, formally innovative, and opposed to a painterly aesthetic. Concerned with the need for analytical-documentary photo series, he often shot his subjects from odd angles—usually high above or below—to shock the viewer and to postpone recognition. He wrote: "One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again."

Life and career

Rodchenko was born in St. Petersburg to a working class family. His family moved to Kazan after the death of his father in 1909. at which point he studied at the Kazan School of Art under Nikolai Feshin and Georgii Medvedev, and at the Stroganov Institute in Moscow. At this early time in his career, he began creating his first abstract drawings, influenced by the Suprematism of Kazimir Malevich, in 1915. The following year, he participated in "The Store" exhibition organized by Vladimir Tatlin, who was another formative influence in his development as an artist. When Rodchenko decided to become an artist, he hadn't had any exposure to the art world. He drew much inspiration from his early influences, which were mainly art magazines that were available to him.

In addition to that, he looked closely at the works of many other artists that employed an abstract style. Malevich’s Suprematism was something that gave influence to Rodchenko. Suprematism was a movement in art, started by Malebvich, that placed focus on the fundamentals of geometric forms. He used curvilinear shapes and lines rather than rectilinear forms in his paintings as a result. While he was a student of Tatlin’s he was also his assistant. His work was heavily influenced by Cubism and then his early drawings and paintings followed that and adapted to the development of both Suprematism and Futurism. His drawings and paintings showcased his interest in figuration. These were soon changed by his experiments with the elements of design that he pinpointed. He had the ability to separate out the components of each image. Line, form, space, color, surface, texture, and the works physical support were all account for individually. The quality and interaction of both lines and color were things that changed his work.

Rodchenko was appointed Director of the Museum Bureau and Purchasing Fund by the Bolshevik Government in 1920. He was responsible for the reorganization of art schools and museums. He taught from 1920 to 1930 at the Higher Technical-Artistic Studios (VKhUTEMAS/VKhUTEIN).

In 1921 he became a member of the Productivist group, which advocated the incorporation of art into everyday life. He gave up painting in order to concentrate on graphic design for posters, books, and films. He was deeply influenced by the ideas and practice of the film-maker Dziga Vertov, with whom he worked intensively in 1922.

Impressed by the photomontage of the German Dadaists, Rodchenko began his own experiments in the medium, first employing found images in 1923, and from 1924 on shooting his own photographs as well. His first published photomontage illustrated Mayakovsky's poem, "About This", in 1923.

From 1923 to 1928 Rodchenko collaborated closely with Mayakovsky (of whom he took several striking portraits) on the design and layout of LEF and ''Novy LEF'', the publications of Constructivist artists. Many of his photographs appeared in or were used as covers for these journals. His images eliminated unnecessary detail, emphasized dynamic diagonal composition, and were concerned with the placement and movement of objects in space.

Throughout the 1920s Rodchenko's work was very abstract. In the 1930s, with the changing Party guidelines governing artistic practice, he concentrated on sports photography and images of parades and other choreographed movements.

Rodchenko joined the October circle of artists in 1928 but was expelled three years later being charged with "formalism". He returned to painting in the late 1930s, stopped photographing in 1942, and produced abstract expressionist works in the 1940s. He continued to organize photography exhibitions for the government during these years. He died in Moscow in 1956.

Influence

Much of the work of 20th century graphic designers is a direct result of Rodchenko's earlier work in the field. His influence has been pervasive enough that it would be nearly impossible to single out all of the designers whose work he has influenced. American conceptual artist Barbara Kruger owes a debt to Rodchenko's work.

His 1924 portrait of Lilya Brik has inspired a number of subsequent works, including the cover art for a number of music albums. Among them are influential Dutch punk band The Ex, which published a series of 7" vinyl albums, each with a variation on the Lilya Brik portrait theme, the cover of Mike + the Mechanics album ''Word of Mouth'', and the cover of the Franz Ferdinand album ''You Could Have It So Much Better''. The poster for ''One-Sixth Part of the World'' was the basis for the cover of "Take Me Out", also by Franz Ferdinand.

The end of painting

In 1921, Russian avant-garde artist Alexander Rodchenko executed what were arguably some of the first true monochromes (artworks of one color), and proclaimed "I reduced painting to its logical conclusion and exhibited three canvases: red, blue, and yellow. I affirmed: this is the end of painting." These paintings were first displayed in the 5x5=25 exhibition in Moscow. For artists of the Russian Revolution, Rodchenko's radical action was full of utopian possibility. It marked the end of easel painting – perhaps even the end of art – along with the end of bourgeois norms and practices. It cleared the way for the beginning of a new Russian life, a new mode of production, a new culture.

See also

Russian avant-garde

Anti-art

List of Russian artists

References

"Aleksander Rodchenko : Design Is History." Home : Design Is History. Web. 22 Feb. 2012. .

Dabrowski, Magdalena, Leah Dickerman, Peter Galassi, A. N. Lavrentʹev, and V. A. Rodchenko. Aleksandr Rodchenko. New York, N. Y.: Museum of Modern Art, 1998.

"History of Art: Alexander Rodchenko." History of Art. Web. 22 Feb. 2012. .

Savvine, Ivan. "The Art Story: Modern Art Movements." The Art Story: Modern Art Movements. . (accessed February 22, 2012)..

"THE COLLECTION." MoMA.org. Web. 22 Feb. 2012. .

External links

The Rodchenko and Stepanova collection at The Pushkin Museum of Fine Arts

Photos of Rodchenko on danyanovikov.narod.ru

Rodchenko's art and fate: the experiment continues review of 1998-99 exhibition touring the US, Germany and Sweden reviewed on the World Socialist Web Site

BMI Voyager - Rodchenko's works come to London

Peter Schjeldahl on Alexander Rodchenko

Henry Art exhibition information

review of a recent exhibition of Rodchenko's art by C.B.Liddell

Rodchenko's posters

Rodchenko show at Palexpo

Category:1891 births Category:1956 deaths Category:Faculty of Vkhutemas Category:People from Saint Petersburg Category:Russian artists Category:Russian avant-garde Category:Russian graphic designers Category:Russian painters Category:Russian photographers Category:Soviet painters Category:Soviet photographers

ca:Aleksandr Ródtxenko cs:Alexandr Rodčenko de:Alexander Michailowitsch Rodtschenko el:Αλεξάντερ Ροντσένκο es:Aleksandr Ródchenko eu:Alexander Rodchenko fa:الکساندر رودچنکو fr:Alexandre Rodtchenko it:Aleksandr Michajlovič Rodčenko la:Alexander Rodčenko hu:Alekszandr Mihajlovics Rodcsenko nl:Aleksandr Rodtsjenko ja:アレクサンドル・ロトチェンコ no:Aleksandr Rodtsjenko pms:Aleksandr Rodčenko pl:Aleksander Rodczenko pt:Alexander Rodchenko ru:Родченко, Александр Михайлович sl:Aleksander Mihajlovič Rodčenko fi:Aleksandr Rodtšenko sv:Aleksandr Rodtjenko tr:Aleksandr Rodçenko uk:Родченко Олександр Михайлович zh:亞歷山大·羅欽可

Character name	The Russian
Converted	y
Alter ego	Ivan Vassilovitch Dragovsky
Publisher	Marvel Comics
Debut	''The Punisher'' vol. 4, #8 (November 2000)
Creators	Garth EnnisSteve Dillon
Alliances	The Gnucci family
Aliases	Ma Gnucci
Powers	Superhuman level endurance, reflexes, and strength
Cat	super
Subcat	Marvel Comics
Villain	y
Sortkey	Russian (Comics) }}

The Russian is a Marvel Comics supervillain created by Garth Ennis and Steve Dillon to become an assassin during the Punisher's relaunch in November 2000.

Fictional character biography

The man known as the Russian was hired by the crime boss Ma Gnucci to eliminate the Punisher. He located him while the Punisher was moving out of his latest safe house, still recovering from severe wounds suffered in a previous battle with the Gnucci army. Almost unarmed and weak, Frank Castle is beaten severely by the Russian, who took the chance to enlighten Frank about his views on capitalism and American comic heroes and enjoyed the exercise immensely. During the course of the fight, though, the Punisher learns that the hired killer has a serious aversion towards hot things. When the fight ends up in the apartment of Frank's obese friend, Mr. Bumpo, the Russian is stunned when Frank hits him with Bumpo's fresh pizza. Frank then has Bumpo lay on the Russian's head for many minutes. The Russian's severed head is later used as an intimidation tactic against the remnants of Ma Gnucci's army.

Revival

Several months after his death at the hands of the vigilante, a secret paramilitary organization retrieves his body parts. Using technology stolen from S.H.I.E.L.D., they "reattached" his head onto his body, and augmented him with super-hard alloy coating to his skeleton. The Russian receives many other internal augmentations, rendering him resistant to injury. A side effect of this surgery is that he is required to regularly take large quantities of female hormones, preventing the rejection of his implants, causing him to develop large breasts. The Russian becomes quite enamoured with these, even wearing a dress in his next encounter with Castle.

He enthusiastically agrees to serve the organization's head, General Kreigkopf, only to be allowed to take a one-off attempt at revenge on the Punisher. His efforts lead to throwing Frank Castle off the Empire State Building, but the vigilante is rescued by Spider-Man, who becomes deeply involved in the fight. Spider-Man refers to this version of the Russian as "Giant-Sized Ma'am Thing", a pun on ''Giant-Size Man-Thing'', an infamous comic. Frank, using Spider-Man as a human shield, fills the Russian's mouth with webs and pushes him off the building. The Russian smashes through the pavement, is hit by a subway train, and manages to escape in the confusion. Though heavily damaged, he is eventually repaired. Though willing to follow the General via his old bargain, he cannot wait to clash once again with his adversary.

Grand Nixon Island

Later, the Russian is given his opportunity when the Punisher, having learned who was behind the Russian's resurrection, travels to the mercenary and criminal populated Grand Nixon Island to take out its leader, General Kreigkopf. The deranged general is about to crash a Boeing 747 brimming with commandos into a European Union council to prove, once and for all, that he was not a man to be trifled with. The Russian is on board, too, and when the Punisher blasts the plane before it could even take off, it crashes into a fuel depot. The Russian emerges, the only survivor.

Kreigkopf gives the Russian the order to take over a French atomic bomb test plane that had stopped on Grand Nixon island for refueling. The General wanted to take the bomb and drop it on the European Union in lieu of the 747. Frank, on the plane as well, briefly fights the Russian, then literally hooks the bomb into the Russian's face and sends both out the cargo door to the island below. Amused by the Punisher's boldness, the Russian literally laughed all the way to the ground. The entirety of Grand Nixon Island is destroyed in the atomic blast; presumably the Russian is killed as well, but his survival rate to date suggests a return from even such a cataclysm may not be unimaginable.

Powers and abilities

The Russian is a gigantic man (officially, he is tall and weighs 500 pounds) with tremendous strength and endurance. It is possible that the Russian himself does not know the exact limits of his abilities. He was seen crushing a man to death when attempting to give him a "friendly" hug. During his first appearance, the Russian was able to rip a toilet out off the wall and beat the Punisher with it. He was also seen punching through walls with apparently no loss of stamina, and due to his incredibly strong body, he is nearly impervious to bullets.

Obsession with American culture

In his initial comic appearances, the Russian was shown to have a minor obsession with American pop culture. His first thoughts upon being offered $10 million to kill the Punisher was a realization of how many pairs of Levi's and Compact Discs he could buy with that amount. The Russian is also a self-confessed superhero fan. He is the president of "The Daredevil, Man Without Fear, Fan Club" of Smolensk. He also wished to gain autographs from the X-Men, the Fantastic Four, and Spider-Man before his death at Frank Castle's hands. He also believes Thor would make a good communist because of his big hammer.

Other versions

Marvel Noir

In ''Punisher Noir'', the Russian is a Russian soldier turned independent mercenary during World War I, who is sent to murder Frank Castelione while on a train headed for England after the end of the war. A fight ensues and moves to the top of the train, where Frank shoves a grenade into the crotch of his pants and pushes him away. Years later, the Russian has taken to wearing women's clothing and, along with Barracuda and Jigsaw, murder Castelione at Dutch Schutlz's orders.

In other media

Film

The Russian appeared in 2004's ''The Punisher'', portrayed by professional wrestler Kevin Nash and had no dialogue other than growls and snarls. He is dressed in a Spetznaz-type costume that he wears during his first comic book appearance. He is hired by Howard Saint to kill the Punisher. Forcing his way into the Punisher's apartment, the two engaged in a brutal fight which mirrors their first encounter in the comics. Despite sustaining a superficial knife wound to his shoulder, the Russian manages to give the Punisher a severe beating that includes returning the shoulder wound, tossing him through several layers of drywall, and hitting him with a toilet he ripped out of the foundation. In addition like the comics, the fight takes a turn for the better when the Punisher throws a pot of boiling water in his face which causes severe burns. This gives the Punisher the opportunity to knock the Russian down the apartment stairs. The Russian dies of a broken neck.

Video games

The Russian also appears in the 2005 ''Punisher'' video game, which is a game based on the comic books. In the game, he has speaking lines (referring to the Punisher as "Big boy"). He references other Marvel heroes, with phrases such as "Russian Smash!", a classic tagline of the Hulk; "It's clobbering time!", the favorite saying of the Thing of the Fantastic Four; and "Big superhero in Russia!" In the game, he is similar to his comics counterpart, working for Kreigkopf. He manages to knock out Nick Fury, and he serves as a stage boss twice in the game before being defeated for good.

References

Category:Fictional assassins Category:Fictional cyborgs Category:Marvel Comics characters with superhuman strength Category:Comics characters introduced in 2000 Category:Film characters Category:Characters created by Garth Ennis

es:El Ruso (Marvel Comics) fr:Le Russe (comics) it:Russo (fumetto) fi:Ryssä (sarjakuvahahmo)

name	Derek Jarman
birth name	Michael Derek Elworthy Jarman
birth date	January 31, 1942
birth place	Royal Victoria Nursing Home, Northwood, London
death date	February 19, 1994
death place	St. Bartholomy's Hospital, London
resting place	St. Clement Churchyard, Old Romney, Kent
partner	Keith Collins (1987-94)
nationality	English
citizenship	United Kingdom
education	Canford School, Dorset
residence	Dungeness, Kent
home town	Northwood
alma mater	King's College, London, Slade School of Fine Art (UCL)
occupation	Film director, gay rights activist, gardener, set designer
years active	1970–1994
style	New Queer Cinema
notable works	''Sebastiane'' (1976), ''Jubilee'' (1977), ''Caravaggio'' (1986), ''The Last of England'' (1988), ''War Requiem'' (1989), ''Edward II'' (1991), ''Wittgenstein'' (1993), ''Blue'' (1993)
parents	Lancelot Elworthy JarmanElizabeth Evelyn Puttock }}

Michael Derek Elworthy Jarman (31 January 1942 – 19 February 1994) was an English film director, stage designer, diarist, artist, gardener and author.

Life

Jarman was born in Northwood, Middlesex. His father was a military officer, born in New Zealand, and his mother was half-Jewish. He boarded at Canford School in Dorset, and from 1960 studied at King's College London. This was followed by four years at the Slade School of Fine Art, University College London (UCL), starting in 1963. He had a studio at Butler's Wharf, London, and was part of the Andrew Logan social scene in the 1970s. Jarman was outspoken about homosexuality, his never-ending public fight for gay rights, and his personal struggle with AIDS.

On 22 December 1986, Jarman was diagnosed as HIV positive, and discussed his condition in public. His illness prompted him to move to Prospect Cottage, Dungeness in Kent, near the nuclear power station. In 1994, he died of an AIDS-related illness in London, aged 52. He is buried in the graveyard at St. Clements Church, Old Romney, Kent.

Films

Jarman's first films were experimental super 8 mm shorts, a form he never entirely abandoned, and later developed further in his films ''Imagining October'' (1984), ''The Angelic Conversation'' (1985), ''The Last of England'' (1987) and ''The Garden'' (1990) as a parallel to his narrative work. The Angelic Conversation featured Toby Mott and other members of the Radical artist collective The Grey Organisation

Jarman first became known as a stage designer, getting his break in the film industry as production designer for Ken Russell's ''The Devils'' (1970). He later made his debut in "overground" narrative filmmaking with the groundbreaking ''Sebastiane'' (1976), arguably the first British film to feature positive images of gay sexuality, and the first film entirely in Latin. ''Sebastiane'' is a story about the martyrdom of St. Sebastian, which created a stir on the art cinema market because of its overt depiction of homosexual desire.

He followed this with the film many regard as his first masterpiece, ''Jubilee'' (shot 1977, released 1978), in which Queen Elizabeth I of England is transported forward in time to a desolate and brutal wasteland ruled by her twentieth century namesake. ''Jubilee'' was arguably the first UK punk movie, and among its cast featured punk groups and figures such as Wayne County of Wayne County & the Electric Chairs, Jordan, Toyah Willcox, and Adam and the Ants.

This was followed by Jarman's unconventional adaptation of Shakespeare's ''The Tempest'' in 1979. Praised by several Shakespeare scholars, but dismissed by some traditionalist critics, the film contains a considerable amount of nudity (mostly male, but also some female, including a scene in which Caliban's mother Sycorax breast-feeds her son), some unconventional casting (Toyah Willcox's Miranda hardly suggests innocent purity) and an unusual setting (a crumbling mansion as opposed to an island). Throughout the film, Jarman is liberal with Shakespeare's text, using it as a springboard for his own interpretation.

During the 1980s Jarman was one of the still few openly gay public figures in Britain and was a leading campaigner against Clause 28. He also worked to raise awareness of AIDS. His artistic practice in the early 1980s reflected these commitments, perhaps most famously in ''The Angelic Conversation'' (1985), a film in which the imagery is accompanied by a voice reciting Shakespeare's sonnets, obviously chosen for their openness to a homoerotic re-reading.

Jarman spent seven years making experimental super 8 mm films and attempting to raise money for ''Caravaggio'' (he later claimed to have rewritten the script seventeen times during this period).

Released in 1986, ''Caravaggio'' attracted a comparatively wide audience (and is still, barring the cult hit ''Jubilee'', probably Jarman's most widely-known work). This is partly due to the involvement, for the first time, of the British television company Channel 4 in funding and distribution. Funded by the BFI and produced by film theorist Colin MacCabe, ''Caravaggio'' became Jarman's most famous film, and marked the beginning of a new phase in Jarman's filmmaking career: from now on all his films would be partly funded by television companies, often receiving their most prominent exhibition in TV screenings. ''Caravaggio'' also saw Jarman work with actress Tilda Swinton for the first time. Here, his trademark aesthetics flourished: overt depictions of homosexual love, narrative ambiguity, and superb visuals, particularly the live representations of Caravaggio's most famous paintings, are all prominent features of the work.

The conclusion of ''Caravaggio'' also marked the beginning of a temporary abandonment of traditional narrative in Jarman's films. Frustrated by the formality of 35 mm film production, and the institutional dependence and resultant prolonged inactivity associated with it (which had already cost him seven years with ''Caravaggio'', as well as derailing several long-term projects), Jarman returned to and expanded the super 8 mm-based form he had previously worked in on ''Imagining October'' and ''The Angelic Conversation''. The film was entered into the 36th Berlin International Film Festival where it won the Silver Bear for an outstanding single achievement.

The first film to result from this new semi-narrative phase, ''The Last of England'' told the death of a country, ravaged by its own internal decay and the economic restructuring of Thatcher's government. "Wrenchingly beautiful…the film is one of the few commanding works of personal cinema in the late 80's – a call to open our eyes to a world violated by greed and repression, to see what irrevocable damage has been wrought on city, countryside and soul, how our skies, our bodies, have turned poisonous", wrote a ''Village Voice'' critic. This film re-interpreted Ford Madox Brown's famous painting of emigrants leaving the English shores for a life in the New World, and has been compared to Humphrey Jennings's documentary ''Listen to Britain'' (1942) which constitutes its very antithesis. Where ''Listen to Britain'' indulges in the idyllic, The Last of England tries to expose the decay.

During the making of his film ''The Garden'', Jarman became seriously ill. Although he recovered sufficiently to complete the work, he never attempted anything on a comparable scale afterwards, returning to a more pared-down form for his concluding narrative films, ''Edward II'' (perhaps his most politically outspoken work, informed by his Queer activism) and the Brechtian ''Wittgenstein'', a delicate tragicomedy based on the life of the philosopher Ludwig Wittgenstein. It was a later complaint of Jarman's that with the disappearance of the Independent Film sector it had become impossible for him to get finance. Jarman made a side income by directing music videos for various artists including Marianne Faithfull, The Smiths and the Pet Shop Boys.

In 1989, Jarman's film ''War Requiem'' brought the legendary actor Laurence Olivier out of retirement. It turned out to be Olivier's last performance.

By the time of his 1993 film ''Blue'', Jarman was losing his sight and dying of AIDS-related complications. ''Blue'' consists of a single shot of saturated blue colour filling the screen, as background to a soundtrack composed by Simon Fisher Turner, and featuring original music by Coil and other artists, in which Jarman describes his life and vision. When it was shown on British television, Channel 4 carried the image whilst the soundtrack was broadcast simultaneously on BBC Radio 3, a collaborative project unique for its time.

His final testament as a film-maker was the film ''Glitterbug'' made for the Arena slot on BBC Two, and broadcast shortly after Jarman's death. Compiled and edited from many hours of super 8 footage shot with friends and companions throughout his career, it is a moving collage of memories, people and moments lost in time, accompanied by a specially commissioned soundtrack from Brian Eno.

Other works

Jarman's work broke new ground in creating and expanding the fledgling form of 'the pop video' in England, and in gay rights activism. Several volumes of his diaries have been published.

Jarman also directed the 1989 tour by the UK duo Pet Shop Boys. By pop concert standards this was a highly theatrical event with costume and specially shot films accompanying the individual songs. Jarman was the stage director of Sylvano Bussotti's opera ''L'Ispirazione'', first staged in Florence in 1998.

Jarman is also remembered for his famous shingle cottage-garden, created in the latter years of his life, in the shadow of Dungeness nuclear power station. The cottage is built in vernacular style in timber, with tar-based weatherproofing, like others nearby. Raised wooden text on the side of the cottage is the first stanza and the last five lines of the last stanza of John Donne's poem, ''The Sun Rising''. The cottage garden was made by arranging flotsam washed up nearby, interspersed with endemic salt-loving beach plants, both set against the bright shingle. The garden has been the subject of several books. At this time, Jarman also began painting again (see the book: ''Evil Queen: The Last Paintings'', 1994).

Jarman was the author of several books including his autobiography ''Dancing Ledge'', a collection of poetry ''A Finger in the Fishes Mouth'', two volumes of diaries ''Modern Nature'' and ''Smiling In Slow Motion'' and two treatises on his work in film and art ''The Last of England'' (also published as ''Kicking the Pricks'') and ''Chroma''. Other notable published works include film scripts (''Up in the Air'', ''Blue'', ''War Requiem'', ''Caravaggio'', ''Queer Edward II'' and ''Wittgenstein: The Terry Eagleton Script/The Derek Jarman Film''), a study of his garden at Dungeness ''Derek Jarman's Garden'', and ''At Your Own Risk'', a defiant celebration of gay sexuality.

Musical tributes

After his death, the band Chumbawamba subsequently released ''Song for Derek Jarman'' in his honour. Andi Sexgang, another music artist, released the CD ''Last of England'' as a Jarman tribute. The ambient experimental album ''The garden is full of metal'', by Robin Rimbaud, includes Jarman speech samples. Manic Street Preachers' Bassist, Nicky Wire, also recorded a track titled ''Derek Jarman's Garden'' as a b-side to his single ''Break My Heart Slowly'' in 2006.

Filmography

Feature films

''Sebastiane'' (1976)

''Jubilee'' (1977)

''The Tempest'' (1979)

''The Angelic Conversation'' (1985)

''Caravaggio'' (1986)

''The Last of England'' (1988)

''War Requiem'' (1989)

''The Garden'' (1990)

''Edward II'' (1991)

''Wittgenstein'' (1993)

''Blue'' (1993)

Short films

''Electric Fairy'' (1971)

''Studio Bankside'' (1971)

''Garden of Luxor'' (1972)

''Burning the Pyramids'' (1972)

''Miss Gaby'' (1972)

''A Journey to Avebury'' (1971)

''Andrew Logan Kisses the Glitterati'' (1972)

''Tarot'' (aka ''the Magician'', 1972)

''Sulphur'' (1973)

''Stolen Apples for Karen Blixen'' (1973)

''Miss World'' (1973)

''The Devils at the Elgin'' (aka ''Reworking the Devils'', 1974)

''Fire Island'' (1974)

''Duggie Fields'' (1974)

''Ula's Fete'' (aka ''Ula's Chandelier'', 1975)

''Picnic at Ray's'' (1975)

''Sebastian Wrap'' (1975)

''Sloane Square: A Room of One's Own'' (1976)

''Gerald's Film'' (1976)

''Art and the Pose'' (1976)

''Houston Texas'' (1976)

''Jordan's Dance'' (1977)

''Every Woman for Herself and All for Art'' (1977)

''The Pantheon'' (1978)

''In the Shadow of the Sun'' (1974) ''(in 1980 Throbbing Gristle was commissioned to provide a new soundtrack for this 54 minute film eponymous piece by Throbbing Gristle)''

''T.G.: Psychic Rally in Heaven'' (1981)

''Jordan's Wedding'' (1981)

''Pirate Tape (William S. Burroughs Film)'' (1982)

''Waiting for Waiting for Godot'' (1982)

''Pontormo and Punks at Santa Croce'' (1982)

''B2 Tape/Film'' (1983)

''Catalan'' (1984)

''Imagining October'' (1984)

''Aria'' (1987)

*segment: ''Depuis le Jour''

''L'Ispirazione'' (1988)

''Glitterbug'' (1994) ''(one-hour compilation film of various Super-8 shorts with music by Brian Eno)''

Jarman's early Super-8 mm work has been included on some of the DVD releases of his films.

Music videos

The Sex Pistols: ''The Sex Pistols Number One'' (1976) Marianne Faithfull: "Broken English", "Witches' Song", and "The Ballad of Lucy Jordan" (1979) Throbbing Gristle: "TG Psychic Rally in Heaven" (1981) The Lords of the New Church: "Dance With Me" (1983) Carmel: "Willow Weep For Me" (1983) Jordi Vallis: "Catalan" (1983) Wang Chung: "Dance Hall Days" (first version) (1983) Language: "Touch The Radio Dance" (1984) (notable because it was shown at the Museum of Modern Art) Billy Hyena: "Wide Boy Awake" (1984) Orange Juice: "What Presence?!" (1984) Marc Almond: "Tenderness Is a Weakness" (1984) Bryan Ferry: "Windswept" (1985)

The Smiths:

''The Queen Is Dead'', a short film incorporating the Smiths songs "The Queen Is Dead", "Panic", and "There Is a Light That Never Goes Out" (1986)

* The "Panic" sequence from ''The Queen Is Dead'' was edited to form the video for that single (1986)

"Ask" (1986)

Easterhouse: "1969" and "Whistling in the Dark" (1986) Matt Fretton: "Avatar" (unreleased) (1986) The Mighty Lemon Drops "Out of Hand" (1987) Bob Geldof: "I Cry Too" and "In The Pouring Rain" (1987) Pet Shop Boys: "It's a Sin" (1987), "Rent" (1987), "King's Cross" (1989), "Projections" (1993), and "Violence" (1995) Suede: "The Next Life" (1993) Patti Smith: "Memorial Tribute" (1993)

Scenic design

''Jazz Calendar'' at Covent Garden. ''Don Giovanni'' at the Coliseum. ''The Devils'', directed by Ken Russell. ''Savage Messiah'', directed by Ken Russell. ''The Rake's Progress'', directed by Ken Russell in Florence. 1991: ''Waiting for Godot'' by Samuel Beckett, at the Queen's Theatre in the West End.

Documentaries

''The Last Paintings of Derek Jarman'' (Mark Jordan, Granada TV 1995). Broadcast by Granada TV and shown at the San Francisco Frameline Film Festival. Last footage shot of Derek producing his final works. Guests inc Margi Clarke. Toyah Wilcox. Brett Anderson. Frank Schofield. Jon Savage. To coincide with the broadcast the exhibition Evil Queen was premiered at the Whitworth Art Gallery, Manchester. (Contact BFI for footage).

''Derek Jarman: Life As Art'' (2004): a biography exploring Derek Jarman's life and films by 400Blows Productions/Andy Kimpton-Nye, featuring Tilda Swinton, Simon Fisher Turner, Chris Hobbs and narrated by John Quentin. Broadcast on Sky Arts and screened at film festivals around the world, including Buenos Airies, Cork, London, Leeds, Philadelphia and Turin.

''Derek'' (2008): a biography of the life and work of Jarman, directed by Isaac Julien, narrated by Tilda Swinton.

''Red Duckies'' (2006): Short film directed by Luke Seomore & Joseph Bull, featuring a voice-over from Simon Fisher Turner commissioned by Dazed & Confused (magazine) for World Aids Day 2006.

''Delphinium: A Childhood Portrait of Derek Jarman'' (2009): a "stylized and lyrical coming-of-age" short film combining narrative and documentary elements directed by Matthew Mishory depicting Jarman's "artistic, sexual, and political awakening in postwar England". Jarman's surviving muse Keith Collins and Siouxsie and the Banshees founder Steven Severin both participated in the making of the film, which had its world premiere at the 2009 Reykjavik International Film Festival in Iceland, its UK premiere at the Raindance Film Festival in London, and its California premiere at the 2010 Frameline International Film Festival in San Francisco. In 2011 the film was permanently installed in the British Film Institute's National Film Archive in London.

References

Further reading

Michael Charlesworth, ''Derek Jarman'' (Reaktion, 2011)

Martin Frey. ''Derek Jarman – Bewegte Bilder eines Malers.'' (BoD, 2008), ISBN 978-3-8370-1217-0

Steven Dillon. ''Derek Jarman and Lyric Film: The Mirror and the Sea.'' (2004).

Tony Peake. ''Derek Jarman'' (Little, Brown & Co, 2000). 600-page biography.

Michael O'Pray. ''Derek Jarman: Dreams of England''. (British Film Institute, 1996).

Howard Sooley. ''Derek Jarman's Garden.'' (Thames & Hudson, 1995).

Derek Jarman. 'Modern Nature' (Diaries 1989–1990)

Derek Jarman. 'Smiling in Slow Motion' (Diaries 1991–1994)

'Evil Queen' Exhibition catalogue. Forward by Mark Jordan ISBN 0-9524356-0-8

External links

Bibliography of books and articles about Jarman via UC Berkeley Media Resources center

Slow Motion Angel – a Derek Jarman Information and Resource Site

Derek Jarman: Radical Traditionalist

Preserving A Harlequin – a Jarman retrospective by Nick Clapson

Photographs of Prospect Cottage & garden details at Flickr

Derek Jarman on Find-A-Grave

Derek Jarman – Moving Pictures of a Painter

Derek Jarman; On lyrical love and dedication

Audio recording of Derek Jarman interviewed by Ken Campbell at the ICA, London, 7 February 1984

Category:Alumni of the Slade School of Art Category:English film directors Category:English diarists Category:English artists Category:British experimental filmmakers Category:LGBT rights activists from England Category:Alumni of King's College London Category:People educated at Canford School Category:People from Northwood, London Category:Gay writers Category:LGBT directors Category:LGBT people from England Category:1942 births Category:1994 deaths Category:AIDS-related deaths in England

de:Derek Jarman es:Derek Jarman fr:Derek Jarman id:Derek Jarman it:Derek Jarman he:דרק ג'רמן la:Derek Jarman hu:Derek Jarman nl:Derek Jarman ja:デレク・ジャーマン pl:Derek Jarman pt:Derek Jarman ru:Джармен, Дерек fi:Derek Jarman tr:Derek Jarman

David Davidovich Burliuk (; ) (July 21, 1882 – January 15, 1967) was a Russian Futurist, Neo-Primitivist), book illustrator, publicist, and author associated with Russian Futurism. In the words of his publisher Maria (also Maryussia) Burliuk, David Burliuk was the father of "Soviet Russian Futurism."

Biography

David Burliuk was born in Semyrotivka near the village of Riabushky (now Lebedyn District, Sumy Oblast) in Ukraine, brother of fellow artist Volodymyr (Wladimir) Burliuk in a family descended from Ukrainian Cossacks who held premier positions in the Hetmanate. His mother, Ludmila Mikhnevich, was of ethnic Belarussian descent. Because of his given name of "David," Burliuk was frequently mistaken for a Jew.

From 1898 to 1904 he studied at the art schools in Kazan and in Odessa, as well as at the Royal Academy in Munich. His exuberant, extroverted character was recognized by Anton Azhbe, his professor at the Munich Academy, who called Burliuk a “wonderful wild steppe horse.” In 1908 an exhibition with the group ''Zveno'' ("The Link") in Kiev was organized by David Burliuk together with Wladimir Baranoff-Rossine, Alexander Bogomazov, Volodymyr (Wladimir) Burliuk and Aleksandra Ekster.

From 1910 he was the member of the group ''Jack of Diamonds''.

From 1910 to 1911 he attended the Art School in Odessa. After 1911 David concentrated on poetry.

From 1911 to 1913 he studied at the Moscow School of Painting, Sculpture and Architecture (MUZHVZ).

In 1911 Burliuk participated in the group exhibition of the Blaue Reiter in Munich, which also included his brother Wladimir.

In 1912 David Burliuk was co-author of the Russian Futurist manifesto ''A Slap in the Face of Public Taste''.

In 1913 he was expelled from the Academy. In the same year D. Burliuk founded the publishing venture of the futuristic writer's group ''Hylaea''.

In 1915 David Burliuk published the book ''The Support of the Muses in Spring'', with illustrations by Lentulov, and by David and Wladimir Burliuk.

From 1915 to 1917 he resided in the Urals with frequent trips to Moscow and Petrograd (St. Petersburg).

In 1917 he participated in an exhibition with the group ''Jack of Diamonds'' in the artists' salon in Moscow, which included Aleksandra Ekster and Kazimir Malevich.

From 1918 to 1922 he travelled to the USA via Siberia, Japan, and Canada.

In 1925 Burliuk was a co-founder of the Association of Revolutionary Masters of Ukraine (ARMU) with the members Alexander Bogomazov, Vasiliy Yermilov, Vadym Meller, Alexander Khvostenko-Khvostov, and Palmov Victor.

In 1927 he participated in an exhibition of the Latest Artistic Trends in the Russian Museum in Leningrad (St. Petersburg), together with Kazimir Malevich, Aleksandr Shevchenko, and Vladimir Tatlin.

David Burliuk was author of autobiographical sketches ''My Ancestors, Forty Years: 1890–1930''.

In 1909 Burliuk painted a portrait of his future wife, Marussia, on a background of flowers and rocks on the Crimean coast. Many times thereafter he would set the image of his wife to canvas. Without question two dreams possessed his heart all his life: the face of his wife and the portrait of his homeland - first Ukraine and then his adopted country, the United States.

In 1945 an exhibit was mounted at [Irving Plaza| Irving Place Theater] in [New York City]

In 1962 he and his wife travelled to Australia where he held an exhibition at Moreton Galleries, Brisbane. It was his only Australian exhibition. During his stay there David Burliuk painted some sketches and works with Australian views.

From 1937 to 1966 Burliuk and his wife, Marussia, published ''Color & Rhyme'', a periodical primarily concerned with charting Burliuk's activities.

In 1940, Burliuk petitioned the Soviet government for a request to visit his homeland. In exchange, he offered a sizeable collection of archival material pertaining to his contemporary and friend Vladimir Mayakovsky, which Burliuk offered to donate to the Mayakovsky Museum in addition to over 100 original paintings. Burliuk's requests were denied. He was allowed to visit the Soviet Union only in 1956 and 1965.

David Burliuk died on Long Island, New York.

Heritage

In Russian poetry, Burliuk is regarded as a trailblazer. In 1990, the Russian Academy of Futurist Poetry established the David Burliuk Prize (Otmetina) for experimental poetry awarded annually.

Trivia

A painting (most likely - fictional) by Burliuk appears in the novel ''Chapayev and Void'' by Viktor Pelevin. The painting is described as a black writing though a stencil of the word GOD.

External links and references

Exhibition Futurism and After: David Burliuk, 1882-1967 The Ukrainian Museum in New York, USA. October 31, 2008 - April 26, 2009

Exhibition Crossroads: Modernism in Ukraine, 1910-1930,(2006-2007) The Ukrainian Museum in New York, USA.

REVISITING THE PAST: David Burliuk, father of Ukrainian Futurism in America

David Burliuk at 100 Soviet painters gallery

Figureworks.com/20th Century work at www.figureworks.com

English translations of 4 poems, 1910-1915

Notes

Category:Russian Futurist painters Category:Ukrainian Futurist painters Category:Futurist writers Category:1882 births Category:1967 deaths Category:People from Sumy Oblast Category:Russian avant-garde Category:Russian painters Category:Russian artists Category:American writers of Ukrainian descent Category:Ukrainian artists Category:Ukrainian painters Category:Neo-primitivism Category:Ukrainian avant-garde Category:Ukrainian Futurism

be:Давід Бурлюк de:Dawid Dawidowitsch Burljuk es:David Burliuk fr:David Bourliouk nl:David Boerljoek ja:ダヴィド・ブルリューク pl:Dawid Burliuk pt:David Burliuk ru:Бурлюк, Давид Давидович sv:David Burljuk uk:Бурлюк Давид Давидович