Gurianovas most recent book, (Berkeley, CA: University of California Press, 2012) won the AATSEEL Best Book in Literary/Cultural Studies annual award.Her research was supported by the Alice Kaplan Institute for the Humanities at Northwestern University, the Society of Fellows at Harvard University, the William F.
A great strength of the anthology on the whole is how it strikes a nice balance between indirectly addressing both specialists of Russian (art) history and its students.
The essays paint a vivid picture of the various ways in which spirituality may be and has been approached, and also shed light on what the term means in different times and contexts.
In 1911 Vasily Kandinsky published the first edition of On the Spiritual in Art, a landmark modernist treatise in which he sought to reframe the meaning of art and the true role of the artist.
For many artists of late Imperial Russia a culture deeply influenced by the regimes adoption of Byzantine Orthodoxy centuries before questions of religion and spirituality were of paramount importance.
Ten chapters from emerging and established voices offer new perspectives on Kandinsky and other familiar names, such as Kazimir Malevich, Mikhail Larionov, and Natalia Goncharova, and introduce less well-known figures, such as the Georgian artists Ucha Japaridze and Lado Gudiashvili, and the craftswoman and art promoter Aleksandra Pogosskaia.enriches our understanding of the modernist period and breaks new ground in its re-examination of the role of religion and spirituality in the visual arts in late Imperial Russia.
Of interest to historians and enthusiasts of Russian art, culture, and religion, and those of international modernism and the avant-garde, it offers innovative readings of a history only partially explored, revealing uncharted corners and challenging long-held assumptions.
It compares very favourably with its well-known predecessor (1991).
Gurianova quotes Matiushin (1913) 'Art is not an entertainment and not a temple right here in the middle of the marketplace, but a new understanding of world phenomena': here one can share the implicit excitement.
Her research has recently been sponsored by the Getty Research Institute and the Likhachev Foundation.
Kozicharow received her Ph D and MPhil from the University of Cambridge, and holds an MA from University College London, and a BA in History of Art (Honors) and Slavic Studies from Brown University.