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Dr. Taroutina will participate in a roundtable discussion hosted by the Amherst Center for Russian Culture and the Mead Art Museum in conjunction with the opening of the exhibition “My Beautiful, Pitiful Age”: The Twentieth Century through the Thomas P. Whitney Collection. Bringing together leading scholars in the field, the roundtable will explore contemporary approaches to the study, display, and interpretation of cultural materials from the Russian Empire and Soviet Union in light of the region's complex imperial histories and present-day geopolitical realities.
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Dr. Taroutina recently took part in a roundtable discussion on decolonization sponsored by the Society of Historians of East European, Eurasian, and Russian Art and Architecture, Inc. (SHERA)
The roundtable brought together a range of perspectives to consider whether, and in what ways, Eastern Europe might complicate, enrich, or redirect the global decolonization debate. Can a region whose various parts have historically occupied the roles of both colonizer and colonized offer new critical tools? What happens when frameworks developed in postcolonial contexts are brought to bear on Eastern European art and its historiography? This conversation explored the tensions, possibilities, and blind spots that emerge when Eastern Europe enters the discourse on decolonization.
Thursday, June 19, 2025, 12:00-1:30pm New York Time
Participants: Maria Taroutina, Jasmina Tumbas, Svitlana Biedarieva, Nazar Kozak, Konstantin Akinsha.
Chair: Polly Blakesley
https://www.shera-art.org/resources/event/roundtable-on-decolonization
The roundtable brought together a range of perspectives to consider whether, and in what ways, Eastern Europe might complicate, enrich, or redirect the global decolonization debate. Can a region whose various parts have historically occupied the roles of both colonizer and colonized offer new critical tools? What happens when frameworks developed in postcolonial contexts are brought to bear on Eastern European art and its historiography? This conversation explored the tensions, possibilities, and blind spots that emerge when Eastern Europe enters the discourse on decolonization.
Thursday, June 19, 2025, 12:00-1:30pm New York Time
Participants: Maria Taroutina, Jasmina Tumbas, Svitlana Biedarieva, Nazar Kozak, Konstantin Akinsha.
Chair: Polly Blakesley
https://www.shera-art.org/resources/event/roundtable-on-decolonization
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manchesteruniversitypress.co.uk/9781526166234/
Dr. Taroutina was interviewed about the recently published edited volume, Russian Orientalism in a Global Context: Hybridity, Encounter, and Representation, 1740-1940, by Dr. Morteza Hajizadeh for the New Books Network. |
Maria Taroutina will be participating on a panel on “Form/Formation: Race, Aesthetics, and Empire in Russia’s Long 19th Century” at the 55th Annual Convention of the Association for Slavic, East European and Eurasian Studies in Philadelphia:
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Maria Taroutina will be leading a roundtable discussion on “Decolonizing the Museum” at the 55th Annual Convention of the Association for Slavic, East European and Eurasian Studies in Philadelphia:
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Maria Taroutina will be chairing a workshop on Encounter, Race, and Representation: Painting Empire in the “Long” Nineteenth Century at the first World Congress of the Society for Global Nineteenth-Century Studies, which will be held in Singapore from 19 to 22 June, 2023.
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December 2021: Maria Taroutina was elected President of the Society of Historians of East European, Eurasian, and Russian Art and Architecture (SHERA)
The purpose of SHERA is to promote research, provide a forum for ongoing conversations on areas of mutual interest, and foster contacts and collaboration among scholars of East European, Eurasian, and Russian art and architecture through activities such as an online newsletter, a discussion network, active participation in research conferences, and book reviews.
The 2019 USC Book Prize in Literary and Cultural Studies was awarded to Maria Taroutina
In The Icon and the Square, Maria Taroutina traces the origins of the RussoByzantine revivalist movement that led to the 1913 unveiling of Russia’s Quattrocento and the 1915 re-imagining that unveiling inspired in the Russian avant-garde. Integrating volumes of Russian scholarship, most of which has never been translated into English, with museology, and the theories of today’s leading Byzantinists, Taroutina weaves a compelling narrative of two centuries of art and politics—from Voronikhin and Thon to Pussy Riot and the Sinie nosy—that brilliantly accomplishes its goal of proposing “a new set of cultural coordinates from which to interrogate both the inherent mechanisms and theoretical underpinnings of Russian modernism.” In addition to rigorously researched scholarship, Taroutina offers deft analyses of artistic technique and form, which she situates in the broader context of intellectual and art history. Skillfully organized, meticulously researched, accessibly written, and exquisitely illustrated, Taroutina’s contribution serves student and specialist, historian and artist, Russianist and globalist, challenging with erudition and innovation prevailing opinion on the motivations, inspirations, and trajectories of Russian modernism.
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Dr. Maria Taroutina has been awarded the 2019 University of Southern California Book Prize in Literary and Cultural Studies for her book, The Icon and the Square: Russian Modernism and the Russo-Byzantine Revival (Penn State University Press).
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