{"id":{"repo_id":"houston","oai_identifier":"oai:uh-ir.tdl.org:10657/14580"},"canonical_url":"https://search.dev.ndltd.org/etd/houston/oai:uh-ir.tdl.org:10657/14580","repository":{"repo_id":"houston","name":"University of Houston","base_url":"https://uh-ir.tdl.org/server/oai/request"},"display":{"title":"For Tomorrow They Will Not Recognize Us: The American Reception of Soviet Leftist Art","abstract":"In this thesis, I take a historiographic approach to the reception of Soviet leftist art of the early 20th century in the United States. I explore the ways that Soviet movements like Suprematism and Constructivism were appropriated as a vehicle for political meaning by American institutions and the means by which those Soviet artists, artworks, and legacies were framed. The decades covered by my thesis were characterized by global warfare and high-stakes diplomacy, beginning with the immediate aftermath of the Russian Revolution in 1917 through the Second World War, into the Cold War and the Vietnam War. The thesis is divided into three sections roughly aligning with these time periods and each anchored by an exhibition that typifies the feelings and scholarship on the Soviet leftist art in the United States. The exhibitions I examine are Cubism and Abstract Art (1936), Naum Gabo and Antoine Pevsner (1948), and Primary Structures (1966).","abstract_html":"In this thesis, I take a historiographic approach to the reception of Soviet leftist art of the early 20th century in the United States. I explore the ways that Soviet movements like Suprematism and Constructivism were appropriated as a vehicle for political meaning by American institutions and the means by which those Soviet artists, artworks, and legacies were framed. The decades covered by my thesis were characterized by global warfare and high-stakes diplomacy, beginning with the immediate aftermath of the Russian Revolution in 1917 through the Second World War, into the Cold War and the Vietnam War. The thesis is divided into three sections roughly aligning with these time periods and each anchored by an exhibition that typifies the feelings and scholarship on the Soviet leftist art in the United States. The exhibitions I examine are Cubism and Abstract Art (1936), Naum Gabo and Antoine Pevsner (1948), and Primary Structures (1966).","abstract_has_math":false,"creators":["Asakura, Sophie Charlotte Kiyoe"],"institution":"University of Houston","degree_name":"Master of Arts","degree_level":"Masters","degree_discipline":"Art History","degree_department":null,"school":null,"contributors":[],"advisors":["Zalman, Sandra"],"committee_chairs":[],"committee_members":["Golubev, Alexey V.","Harren, Natilee"],"year":2023,"date_issued":"2023-05-15","date_published":"2023-05-15","updated_at":"2026-07-24T02:31:47Z","subjects":["Soviet","Leftist","Reception","Russian","Avant-garde","Cold War","Museum of Modern Art","MoMA","Barr","Greenberg","Naum Gabo","Malevich","Tatlin","Cubism and Abstract Art","Primary Structures","Barbara Rose","Carl Andre","Robert Morris","Camilla Gray","Constructivism","Suprematism"],"languages":["eng"],"rights":["The author of this work is the copyright owner. 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Further transmission, reproduction, or presentation of this work is prohibited except with permission of the author(s)."],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://hdl.handle.net/10657/14580","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Zalman, Sandra"]},{"key":"dc:contributor.committeemember","label":"Committee Member","values":["Golubev, Alexey V.","Harren, Natilee"]},{"key":"dc:creator","label":"Author","values":["Asakura, Sophie Charlotte Kiyoe"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2023-06-14T18:57:05Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2023-06-14T18:57:05Z"]},{"key":"dc:date.issued","label":"Date","values":["2023-05-15"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Art History"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Masters"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Houston"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Soviet","Leftist","Reception","Russian","Avant-garde","Cold War","Museum of Modern Art","MoMA","Barr","Greenberg","Naum Gabo","Malevich","Tatlin","Cubism and Abstract Art","Primary Structures","Barbara Rose","Carl Andre","Robert Morris","Camilla Gray","Constructivism","Suprematism"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["The author of this work is the copyright owner. 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The decades covered by my thesis were characterized by global warfare and high-stakes diplomacy, beginning with the immediate aftermath of the Russian Revolution in 1917 through the Second World War, into the Cold War and the Vietnam War. The thesis is divided into three sections roughly aligning with these time periods and each anchored by an exhibition that typifies the feelings and scholarship on the Soviet leftist art in the United States. The exhibitions I examine are Cubism and Abstract Art (1936), Naum Gabo and Antoine Pevsner (1948), and Primary Structures (1966)."]},{"key":"dc:format.mimetype","label":"Dc Format Mimetype","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["For Tomorrow They Will Not Recognize Us: The American Reception of Soviet Leftist Art"]}]}],"canonical_facts":{"dc:contributor.advisor":["Zalman, Sandra"],"dc:contributor.committeemember":["Golubev, Alexey V.","Harren, Natilee"],"dc:creator":["Asakura, Sophie Charlotte Kiyoe"],"dc:date.accessioned":["2023-06-14T18:57:05Z"],"dc:date.available":["2023-06-14T18:57:05Z"],"dc:date.issued":["2023-05-15"],"dc:description.abstract":["In this thesis, I take a historiographic approach to the reception of Soviet leftist art of the early 20th century in the United States. I explore the ways that Soviet movements like Suprematism and Constructivism were appropriated as a vehicle for political meaning by American institutions and the means by which those Soviet artists, artworks, and legacies were framed. The decades covered by my thesis were characterized by global warfare and high-stakes diplomacy, beginning with the immediate aftermath of the Russian Revolution in 1917 through the Second World War, into the Cold War and the Vietnam War. The thesis is divided into three sections roughly aligning with these time periods and each anchored by an exhibition that typifies the feelings and scholarship on the Soviet leftist art in the United States. 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Further transmission, reproduction, or presentation of this work is prohibited except with permission of the author(s)."],"dc:subject":["Soviet","Leftist","Reception","Russian","Avant-garde","Cold War","Museum of Modern Art","MoMA","Barr","Greenberg","Naum Gabo","Malevich","Tatlin","Cubism and Abstract Art","Primary Structures","Barbara Rose","Carl Andre","Robert Morris","Camilla Gray","Constructivism","Suprematism"],"dc:title":["For Tomorrow They Will Not Recognize Us: The American Reception of Soviet Leftist Art"],"thesis:degree_discipline":["Art History"],"thesis:degree_level":["Masters"],"thesis:degree_name":["Master of Arts"],"thesis:institution_name":["University of Houston"]},"updated_at":"2026-07-24T02:31:47Z"}