Margarita Tupitsyn is an independent scholar and curator. Born in
Moscow, Tupitsyn moved to New York in 1975, where she received her Ph.D from the City
University of New York.
Tupitsyn began to write about and organize exhibitions of contemporary Soviet art in
the late 1970s. Her first exhibition, Russian New Wave, in 1981, introduced the now
acclaimed Moscow conceptual art circle to American audiences. While curator of the
Contemporary Russian Art Center in SoHo from 1981 to 1984, she worked on the Norton Dodge
collection. In 1986, she curated an exhibition of Sots Art at the New Museum of
Contemporary Art and published the first theoretical account of this movement.
During the perestroika era (1987-1993), she published Margins of Soviet Art,
1989, a survey of Soviet post-modernist art, and curated such exhibitions as The Green
Show at Exit Art, After Perestroika: Kitchenmaids or Stateswomen, Independent
Curators, New York, and co-curated Between Spring and Summer at ICA, Boston. At the
same time, she began to study the last phase of the Soviet avant-garde, particularly such
media as photography and photomontage. In 1990, she co-curated Montage and Modern Life
and in 1992, The Great Utopia, a major exhibition of the Soviet avant-garde in New
Yorks Guggenheim Museum.
In 1996, Tupitsyn published The Soviet Photograph: 1924-1937 with Yale
University Press and in 1997 published Kriticheskoe Opticheskoe, a collection of
essays on contemporary Soviet art. Her book Alexander Rodchenko: The New Moscow is
forthcoming from Schirmer/Mosel Verlag and she is preparing a book and an exhibition El
Lissitzky: Beyond the Abstract Cabinet.
The title of her paper at the Stanford Conference will be "THE MODERN SOVIET
CITY: After and Double After"