View allAll Photos Tagged constructivism
2009.
Something new that I'm working on. It feels good.
Strobist: two B1600's with softboxes on either side, gridded B800 aimed at back seamless, below tabletop.
Namibia, Namib Wüste, Namib-Naukluft-Park
Any constructive comments on my photos are welcome.
© All rights reserved. Use without permission is illegal
Die Namib ist mit einem Alter von rund 80 Millionen Jahren die älteste Wüste der Welt und zugleich einer der unwirtlichsten Orte des Planeten. Bei Tagestemperaturen deutlich über 50 °C, Nachttemperaturen von unter 0 °C, jahrzehntelang andauernden Trockenperioden sowie häufigen Sandstürmen sind Pflanzen und Tiere extremen Lebensbedingungen ausgesetzt.
Inside double page spread from "The Results of the First Five-Year Plan" designed by Varvara Stepanova, Russian Constructivist 1932. The photomontage of Constructivism.
Rusakov Workers' Club in Sokolniki district. The eye-catching building is designed by famous avantgarde architect Konstantin Melnikov in the end of 1920s. Recently renovated to house Roman Viktiuk theater.
Designed by Roman Cieslewicz 1982.
Constructivism, photomantage, Expressionism, revolutionary graphic design, and more from his lifetime of work.
I have started to post some of the textures I have created to use in my Photoshop art. You can use them for anything you like. Please mention me if you post anything you create with these. Have fun.
Born in 1891, Rodchenko came into artistic maturity with the Revolution. From 1918 to 1921, while rising to prominence in the new cultural bureaucracy, he pursued a highly innovative program of abstract painting and sculpture. With other artists--including his lifelong companion, Varvara Stepanova--he founded the Constructivist movement. Associating the avant-garde goal of artistic progress with the political goal of social progress, the Constructivists regarded their systematic investigations of the material and formal logic of art as essential to the creation of a Communist society.
In 1921, the driving logic of Rodchenko's theories and his ideal of social agency led him to declare the end of painting and to take up alternative mediums in the service of society. This bold stroke led him to a broad exploration of many fields of design, as well as photocollage and photography. In the 1920s, optimism and wit leavened Rodchenko's earnest fantasy of an ideal world put into order by the artist-engineer, but this fruitful paradox could not long survive in the political and cultural climate of Stalinism. Despite Rodchenko's efforts to adapt, he soon found himself at the margins of Soviet culture, and he spent much of the last two decades of his life in frustrated isolation. He died in 1956, the year that Nikita Krushchev denounced Stalin's crimes.
In the fall of 1925, using a camera he had bought in Paris, Rodchenko embarked on his first extended series of outdoor photographs--oblique views, from above and below, of his own apartment building on Miasnitskaya Street in Moscow, across the courtyard from VKhUTEMAS. Although he did not make further pictures in this vein until 1927, the series laid the cornerstone of his mature photographic aesthetic.
Rodchenko's Lef colleague Viktor Shklovsky had defined the principal aim of art as recovering the immediacy of experience by making the familiar seem unfamiliar. Many of Rodchenko's photographs achieve this simply by departing from the habit of looking--and photographing--straight ahead. He intended to encourage people to see things from fresh points of view by doing just that in his photographs. His style of oblique angles extended into photography the dynamic diagonal compositions of his early paintings. And it helped to shape a vibrant, experimental aesthetic of mobile perspectives, which flourished throughout Europe in the second half of the 1920s. Rodchenko regarded photography as mechanical and objective and therefore socially progressive, but much of his best work of this period was made independently, not on assignment, and it had no use as propaganda.
www.moma.org/interactives/exhibitions/1998/rodchenko/intr...
cambridge university history faculty building, 1964-1967.
architect: james stirling, 1926-1992.
a glass house posing as a brick building...
the stirling set so far.
One of a series of minimalist cubist compositions influenced by the Synthetic Cubism and constructivism of the English artist Ben Nicholson (1894-1982) and the abstract expressionism of Rothko. There are elements of Mondrian too.
"Beat the Whites with the Red Wedge." Designed by El Lissitzky 1919.
Lissitzky hated working with the limitations of hot type and old fashioned letterpress printing and predicted (correctly) that letterpress would be replaced by photomechanical processes. He used drafting tools to draw many of his images including type. Pasteup was another part of his work. If you have ever designed publications of any kind for mass production to be printed letterpress, you know his frustration. The printer has control over the design as well as the actual printing. (Some people are nostalgic over wood cook stoves too.)
My slides are quietly disintigrating and changing color, at least the ones that are not Kodachrome. I really struggled with this one and it's still weak.
Born in 1891, Rodchenko came into artistic maturity with the Revolution. From 1918 to 1921, while rising to prominence in the new cultural bureaucracy, he pursued a highly innovative program of abstract painting and sculpture. With other artists--including his lifelong companion, Varvara Stepanova--he founded the Constructivist movement. Associating the avant-garde goal of artistic progress with the political goal of social progress, the Constructivists regarded their systematic investigations of the material and formal logic of art as essential to the creation of a Communist society.
In 1921, the driving logic of Rodchenko's theories and his ideal of social agency led him to declare the end of painting and to take up alternative mediums in the service of society. This bold stroke led him to a broad exploration of many fields of design, as well as photocollage and photography. In the 1920s, optimism and wit leavened Rodchenko's earnest fantasy of an ideal world put into order by the artist-engineer, but this fruitful paradox could not long survive in the political and cultural climate of Stalinism. Despite Rodchenko's efforts to adapt, he soon found himself at the margins of Soviet culture, and he spent much of the last two decades of his life in frustrated isolation. He died in 1956, the year that Nikita Krushchev denounced Stalin's crimes.
In the fall of 1925, using a camera he had bought in Paris, Rodchenko embarked on his first extended series of outdoor photographs--oblique views, from above and below, of his own apartment building on Miasnitskaya Street in Moscow, across the courtyard from VKhUTEMAS. Although he did not make further pictures in this vein until 1927, the series laid the cornerstone of his mature photographic aesthetic.
Rodchenko's Lef colleague Viktor Shklovsky had defined the principal aim of art as recovering the immediacy of experience by making the familiar seem unfamiliar. Many of Rodchenko's photographs achieve this simply by departing from the habit of looking--and photographing--straight ahead. He intended to encourage people to see things from fresh points of view by doing just that in his photographs. His style of oblique angles extended into photography the dynamic diagonal compositions of his early paintings. And it helped to shape a vibrant, experimental aesthetic of mobile perspectives, which flourished throughout Europe in the second half of the 1920s. Rodchenko regarded photography as mechanical and objective and therefore socially progressive, but much of his best work of this period was made independently, not on assignment, and it had no use as propaganda.
www.moma.org/interactives/exhibitions/1998/rodchenko/intr...
Ernest Hamlin Baker cover design. Echoes of Constructivism in a dramatic composition honouring the pioneers of commercial flight.
Jean (Albert) Gorin
French (1899-1981)
Untitled constructivist composition
(4) Color serigraph
Signed and numbered 33/175 in pencil
Bears publisher's blind stamp Denise Rene Editeur.
Acquired by Simpson/McCanse Fine Art - Tronto, Canada in 2012
Information on Gorin
Albert Jean Gorin was born at Saint-Emilien-de-Blain (Loire-Atlantique) December 2, 1899. From 1914-1916 he attended the Ecole des Beaux Arts at Nantes and then from 1919 to 1922, the Académie de la Grande Chaumiere in Paris. Initially influenced by Matisse, Van Gogh, Cezanne and the Expressionist movement he discovered Cubism in 1923 and was particularly impressed by Albert Gleizes’ book Du Cubisme (Paris 1921) After a period painting primarily in a pure Cubist vein, Gorin executed his first abstract painting in 1925 and in 1926 discovered the work of Piet Mondrian. Further development of the Cubist aesthetic resulted in an interest in furniture design and avant-garde architectural applications.
After a brief flirtation with Purism, he continued to move towards abstraction, especially after encountering Mondrian’s Neo-plasticism in 1926. Almost immediately, and permanently, he was converted to this aesthetic, creating works such as Composition No. 5 (1926; Paris, Pompidou). Gorin first exhibited his work in April 1928 at Lille with the group , alongside Mondrian and César Domela and others. In 1932 he travelled to the USSR and discovered Russian constructivism, another major influence in his work (especially Kasimir Malevitch), although Mondrian remained the prevailing one.
However, where Mondrian's neoplasticism would only admit vertical and horizontal lines in its compositions, Gorin developed his own style by introducing the circle and then oblique lines whilst retaining the geometric rigour of pure neo-plasticism. He always worked with the same primary colours (bright red, light yellow and ultramarine blue) forming strong contrasts on white and black backgrounds.
His first exhibition took place in 1928 with the “S.T.U.C.A.” in Lille. There followed other associations and other exhibitions with groups such as “Cercle et Carré”, “L'Etrave”, “Renaissance Plastique” (which later became “Réalistés Nouvelles”).
In 1932 at the invitation of a leading group of intellectuals and artists, Gorin travelled to the Soviet Union and became influenced by the current Russian Constructivist movement and the work of Malevich in particular.
In 1934, he became a member of l'association Abstraction-Création. He moved to Vésinet in 1937, sold his house in Nort-sur-Erdre and destroyed a large part of his existing body of work. He was subject to the general mobilization in 1939 and became a prisoner of war in 1942.
After the war he settled in Grasse and owned a store selling objects d’art and decoration. Moving frequently in the ensuing years Gorin executed many sculptures that he then photographed and due to cramped living quarters would then destroy, the photographs being the only document of their existence.
In spite of his participation in numerous exhibitions, over many years the work of Gorin was not fully recognized until a significant retrospective was held at the Musée des Beaux-Arts at Nantes, in 1965, at the Stedelijk Museum of Amsterdam, in 1967, the National Center of Contemporary art in Paris, in 1969, and those of the museums of Grenoble and Saint Etienne, in 1973.
In 1977, the Musée des Beaux-Arts at Nantes organized the last major retrospective of Jean Gorin, during his lifetime.
Exhibitions
1928, Lille: œuvres néo-plastiques avec le groupe Stuca
1929-1930: Exposition avec le groupe Cercle et Carré créé par Michel Seuphor et Torrès-Garcia.
1930, Nantes: invité par le groupe artistique L'Etrave
1931, Paris: Exposition de son premier relief dans une exposition du groupe 1940
1945, Paris: Exposition Art concret, Galerie René Drouin.
1946: Salon des Réalités Nouvelles, dont il est le secrétaire
1948, New York: Exposition d'art abstrait constructif
1957, Paris: 50 ans de peinture abstraite organisée à la Galerie Creuze, première exposition particulière à la Galerie Colette Allendy
1958, Saint-Étienne: Les premières générations de l'art abstrait
1960, Liège: Musée de l'Art Wallon
1965, Nantes: Rétrospective (1921-1965) au Musée des Beaux-Arts
1966, Chicago: Exposition à la Kazimir Gallery
1967, Amsterdam: Rétrospective au Stedelijk Museum
1969, Paris: Rétrospective au Centre national d'art contemporain
1974, Paris: Exposition à la Galerie Denise René
1977, Nantes: Rétrospective au Musée des Beaux-Arts
1977, Paris: Centre Pompidou
1999, Blain: Hommage du mouvement Madi à Gorin, Château de la Groulais
1999, Grenoble: Exposition Jean Gorin
As always, I'm at www.brycehudson.com stop by - say hi ;-)
Здание газеты «Известия»
архитекторы: Бархин Г.Б., Бархин М.Г.
конструктор: Лолейт А.Ф.
1925-1927
"Izvestia" newspaper building
architects: Barkhin G.B., Barkhin M.G.
engineer: Loleyt A.F.
1925-1927
Russian photographer and graphic designer Aleksandr Rodchenko (1891-1956) would sometimes produce photographic montages emphasizing lines and geometric forms and putting them to symbolic (and sometimes political) ends.
Can a single crane be imagined in this way today? In this and the following two images I will construct symbols, but the viewer must supply the meaning.