View allAll Photos Tagged constructivism
Bryce Hudson
Untitled Composition (#22)
Oil and Acrylic on Arches Watercolor Board with Wood and Mixed Media Adhesive
2 Separate pieces consisting of the following:
16″ x 20″ ground (blue-greys, blues and white)
6″ x 8″ piece (red-greys, red, and white)
Total Size: 16″ x 20″ x .5″ (Unframed)
2012
Framed archival – Floating with permanent hinging on white acid-free mat board – Conservation Clear Glass
Signed and dated lower right in pencil.
P1100376-b
Van Nelle fabriek, Rotterdam, Famous Dutch Design Architecture in the beginning of the 20th century. Recently renovated in it's original state. It's an industrial monument now.
De architecten J.A. Brinkman en L.C. van der Vlugt gaven in de periode 1925 tot 1928 vorm aan een fabriekscomplex dat bij uitstek een exponent zou worden van het 'Nieuwe Bouwen'.
www.kunstbus.nl/verklaringen/brinkman-en-van-der-vlugt.html
Took these pictures on 8 september 2007, open monumentendag.
Holland on Canvas, 8 september 2009
Photoshop exercise based loosely on a portion of an untitled 1925 painting by Jos Leonard. I was trying some things I don't usually do, though it's hard to notice them. I've also tarted everything up a bit, and made it way more interesting than the reference work.
The Mosselprom (Дом Моссельпрома in Russian), the Moscow Association of Enterprises Processing Agro-Industrial Products, by David Kogan and Arthur Loleyt (1923-1925). Advertising slogans graphic by Alexander Rodchenko and his wife Varvara Stepanova, texts by Vladimir Mayakovsky. Moscow, Russia. © Roberto Conte (2016)
A diagram of the influences on the development of connectivism and MOOCS that also shows the influence of connectivism and MOOCs on subsequent developments.
Aleksandr Mihajlovi Rodtchenko (,né le 23 novembre 1891, Saint-Pétersbourg -,mort le 3 décembre 1956, Moscou) est un artiste russe à la fois peintre, sculpteur, photographe et designer.
Il est l'un des fondateur du mouvement constructiviste russe et a beaucoup influencé le design russe et la photographie par ses travaux.
Biographie
Entre 1910 et 1914, il y étudie à l'Ecole des Beaux-Arts, où il rencontre sa future femme Varvara Stepanova. À la fin de ses études, il s'installe à Moscou où il s'inscrit à l’école d’arts appliqués Stroganoff, qu’il quitte rapidement. Il travaille seul et réalise en 1915 ses premières compositions géométriques en noir et blanc, dessinées au compas et à la règle. Par l'intermédiaire de l'architecte Victor Vesnine, il rencontre Tatline et expose ses œuvres dans l'exposition collective "Magasin" en 1916, aux côtés, notamment, des peintres Lioubov Popova, Alexandra Exter et Ivan Klioune. Il poursuit ses recherches autour de la peinture abstraite et se rapproche des peintres les plus novateurs de l'époque.
En 1917, il dessine pour le Café pittoresque des projets de lampes, l'occasion pour lui d'appliquer ses recherches à des objets du quotidien. Il commence à créer des constructions spatiales et des projets d'architecture (kiosque à journaux, édifices, etc.).
A partir de cette époque, où il fonde avec d'autres le "Syndicat des artistes peintres" dans la fédération la plus avant-gardiste, dite « de gauche », il fera partie de nombreux instituts officiels et enseignera, comme la plupart des artistes d'avant-garde russe, dans les nouvelles d'écoles d'art créées à la Révolution (Prolietkoult, Vkhoutémas puis Vkhoutéïne), jusqu'à leur suppression par le pouvoir politique inquiet des innovations de l'enseignement en 1930.
Il présente en 1919 ses toiles Noir sur Noir pour répondre à la série des Blanc sur Blanc de Malevitch. Il commence à réaliser des collages puis des photo-montages.
En 1921 il participe à plusieurs expositions. Lors de l'une d'elle, intitulée "5x5=25", il présente un triptyque comportant chacun une couleur primaire : Couleur rouge pure, Couleur jaune pure, Couleur bleue pure. À la suite de cette manifestation, il signe le manifeste productiviste dans lequel il s'engage à abandonner la peinture de chevalet au profit de la production d'objets usuels. En mars de la même année, le constructivisme naît formellement comme nouveau courant artistique, pour « faire des expériences concrètes dans la vie réelle », avec la création du "Groupe des constructivistes" au sein de l'Inkhoukh, association particulière d'artistes, de critiques et de théoriciens.
Dès 1922, il réalise de nombreuses affiches politiques, affiches de films, affiches et objets publicitaires influencés par le constructivisme. Pour lui, il y a une « absolue nécessité à lier toute création à la production et à l'organisation même de la vie ».
En 1923, il commence à collaborer avec de nombreuses maisons d'édition pour des travaux de mise en page, il réalise aussi les couvertures de la revue futuriste et constructiviste Lief jusqu'en 1925 puis plus tard celles de Novï Lief dirigées par Vladimir Maïakovski. C'est d'ailleurs l'année où débute sa collaboration avec le poète, pour lequel il illustrera son recueil Pro Eto, l'une de ses œuvres les plus connues.
À partir de 1924, il se consacre à la photographie où il poursuit ses expériences picturales, notamment en « découvrant de nouveaux points de vue et de nouveaux angles de cadrage » (communication parue dans la revue Novyi LEF en 1927). Il fait également de nombreux portraits.
En 1925, il monte le pavillon soviétique à l’Exposition internationale des arts décoratifs et industriels modernes de Paris et présente son projet de "club ouvrier". Il travaille ensuite pour le cinéma et le théâtre en dessinant des meubles, des décors et des costumes.
En 1933, Rodchentko est chargé d'aller photographier la construction du canal de la mer Blanche à la Baltique pour le magazine SSSR na Stroïké (l’URSS en construction) et l'album Belomorstroï. De 1934 à 1939, Rodchentko et Stepanova réalisent des albums photographiques tels que Quinze ans de cinéma soviétique, Aviation soviétique, les Dix Ans de l'Ouzbékistan.
Pendant la seconde guerre mondiale, sa femme et lui quittent Moscou quelques années pour se réfugier dans la région de Perm, en compagnie d'autres artistes. Il travaille à des affiches sur le thème de la grande guerre patriotique.
Après guerre, Rodtchenko continue à publier des albums à la gloire de l'Union soviétique avec sa femme puis sa fille. Il expérimenta la photographie en couleurs. Il meurt à Moscou le 3 décembre 1956.
Constructivism is a theory of knowledge (epistemology) that argues that humans generate knowledge and meaning from an interaction between their experiences and their ideas. During infancy, it was an interaction between human experiences and their reflexes or behavior-patterns. Piaget called these systems of knowledge schemata. Constructivism is not a specific pedagogy, although it is often confused with constructionism, an educational theory developed by Seymour Papert, inspired by constructivist and experiential learning ideas of Jean Piaget. Piaget's theory of constructivist learning has had wide ranging impact on learning theories and teaching methods in education and is an underlying theme of many education reform movements. Research support for constructivist teaching techniques has been mixed, with some research supporting these techniques and other research contradicting those results.
Constructivist theory[edit]
Formalization of the theory of constructivism is generally attributed to Jean Piaget, who articulated mechanisms by which knowledge is internalized by learners. He suggested that through processes of accommodation and assimilation, individuals construct new knowledge from their experiences. When individuals assimilate, they incorporate the new experience into an already existing framework without changing that framework. This may occur when individuals' experiences are aligned with their internal representations of the world, but may also occur as a failure to change a faulty understanding; for example, they may not notice events, may misunderstand input from others, or may decide that an event is a fluke and is therefore unimportant as information about the world. In contrast, when individuals' experiences contradict their internal representations, they may change their perceptions of the experiences to fit their internal representations. According to the theory, accommodation is the process of reframing one's mental representation of the external world to fit new experiences. Accommodation can be understood as the mechanism by which failure leads to learning: when we act on the expectation that the world operates in one way and it violates our expectations, we often fail, but by accommodating this new experience and reframing our model of the way the world works, we learn from the experience of failure, or others' failure.
It is important to note that constructivism is not a particular pedagogy. In fact, constructivism is a theory describing how learning happens, regardless of whether learners are using their experiences to understand a lecture or following the instructions for building a model airplane. In both cases, the theory of constructivism suggests that learners construct knowledge out of their experiences.
However, constructivism is often associated with pedagogic approaches that promote active learning, or learning by doing. There are many critics of "learning by doing" (a.k.a "discovery learning") as an instructional strategy (e.g. see the criticisms below). While there is much enthusiasm for Constructivism as a design strategy, according to Tobias and Duffy "... to us it would appear that constructivism remains more of a philosophical framework than a theory that either allows us to precisely describe instruction or prescribe design strategies. This is unfortunate because there is quite a bit of promise to the educational philosophy behind constructivism, but constructivists seem to be having difficulties defining testable learning theories.[citation needed]
The construction of knowledge is a dynamic, active process in which learners constantly strive to make sense of new information.
Over time, this sense-making activity is made up of conscious attention, organising and reorganising ideas, assimilating or accommodating to new ideas, and constant reshuffling and reorganising in efforts to connect ideas into coherent patterns.
european institute for progressive cultural policies
“Into Production!”: The Socialist Objects of Russian Constructivism
Christina Kiaer
“My first step is for Einem cookies”, is also in the little girl’s own voice, suggesting that in his Red October rhyme, Mayakovsky took his cue from this prerevolutionary ad or others like it. In the temporal narrative of text and image, we see the capitalist past of Einem and the NEP present of Mossel’prom moving toward the socialist future of Red October – a movement literalized in the image of the spiral of cookies snaking their way into the girl’s mouth. This image can be understood as a “dialectical image”, as theorized by Walter Benjamin in the Arcades Project: “what has been comes together in a flash with the now to form a constellation.”[18] This constellation offers the “flash of recognition” to understand the socialist future. It works to make consumer desire legible".
by Alexei Gan
"Another of the lectures given in Inkhuk, in December 1921, was by Varvara Stepanova, who spoke 'On Constructivism'. This is interesting as an indication of the point at which the term 'Constructivism' was acknowledged by the artists to describe their ideas. At first this ideology had simply been called 'production art'. The term 'Constructivism' is said, as is the usual way with 'isms', to have been invented by an art critic.
The various contemporary statements by the artists themselves on Constructivism are for the most part incoherent, doctrinaire, an uncoordinated series of slogans: 'Art is dead!....Art is as dangerous as religion as an escapist activity. . . . Let us cease our speculative activity [painting pictures] and take over the healthy bases of art - color, line, materials and forms - into the field of reality, of practical construction'. These phrases are quoted from the first important publication of the group's ideology - Constructivism by Alexie Gan, published in Tver in 1922".
From Camilla Gray's The Russian Experiment in Art: 1863-1922.
Pet Shop Boys
Book :
Maïakovski
Rodtchenko
L' Amour
La Poésie
La Révolution
Le Temps Des Cerises
2011
Trois textes accompagné des collages de Rodtchenko, emblématiques du Constructivisme Russe, et de reproductions des éditions originales des poèmes de Maïakovski.
CD :
Dimitri Shostakovich
Symphonie N°7
Decca
2017
Design . El Lissitzky
iMusic :
Pet Shop Boys
Love Etc.
Parlophone
2009
GMAlevich ...
A Certain Ratio
Art :
Alexander Rodchenko
To All It May Concern !
Only Those Who The Shareholders Of The 'Dobrolyot' Are /
Can Be Named The Citizens Of The USSR !
Moscow
1923
Part 3 of Constructivism . The Soviet Avant - Garde Poster
CD :
A Certain Ratio
Wild Communist Party
Factory / Operation Twilight
FAC128 / OPT17
Design by Trevor Johnson
iTunes :
ACR:MOW
Factory
FAC5
GMAeroflot ...
Kurt Hermann Eduard Karl Julius Schwitters (June 20, 1887 - January 8, 1948) was a German painter who was born in Hannover, Germany. Schwitters worked in several genres and media, including Dada, Constructivism, Surrealism, poetry, sound, painting, sculpture, graphic design, typography and what came to be known as installation art. He is most famous for his collages, called Merz Pictures.
On January 2, 1937 Schwitters, wanted for an 'interview' with the Gestapo, fled Hannover to join his son Ernst in Norway, who had already left Germany on the December 26, 1936. His wife Helma decided to remain in Hannover, to manage their four properties. In the same year, his Merz pictures were included in the Nazi exhibition titled "entartete Kunst" in Munich, making his return impossible. Helma visited for a few months each year up to the outbreak of World War II. The joint celebrations for his mother Henriette's 80th birthday and his son Ernst's engagement, held in Oslo on 2 June 1939, would be the last time the two met.
[Cut-and-pasted coloured and printed paper, cloth, wood, metal, cork, oil, pencil, and ink on paperboard, 91.8 x 70.5 cm]
gandalfsgalleymodern.blogspot.com/2011/06/kurt-schwitters...
La table d'échecs du club ouvrier, conçu par Alexandre Rodtchenko, présenté en 1925 à l'Exposition des arts décoratifs et industriels modernes de Paris
Ce club est composé d'une longue table dotée de pupitres pour lire des revues, de 12 sièges, de présentoirs muraux, d'une tribune avec tableau et d'une table d'échecs avec chaises intégrées. Le tout est en bois et métal peint aux couleurs du constructivisme.
L'ensemble d'origine ayant été détruit, il a été reconstitué en 1979 pour l'exposition "Paris-Moscou" au centre G. Pompidou à Paris. Le commissaire a décidé de l'exposer à nouveau.
Oeuvre présentée dans l'exposition "Rouge. Art et utopie au pays des Soviets" au Grand Palais, Paris
Commissaire : Nicolas Liucci-Goutnikov, conservateur au MNAM, Centre G. Pompidou
Since 1976 Wolleh made several visits to Poland with the goal of portaying the art scene.
He met Henryk Stazewski several times making this portray in 1977. Stazewski was one of the great constructivists of his time.
Aurora Borealis, 2020 . Another one from the vaults, never shown before. . #artibles #intothedeep #artforsale #artprint #seacreature #constructivism #abstractart #modernart #kineticart #opart #hardedge #hardedgeart #art #artprints #artoftheday #readytohang #contemporaryart #abstraction #abstractart #interiordesign #decor #digitalart #fineart #geometric #geometricart #color #nycart #petersealystudio #nycartist
Bryce Hudson
Untitled Composition (#26)
2013
Oil and Acrylic on Arches Watercolor Board with Wood and Mixed Media Adhesive
4 Separate pieces consisting of the following:
Total Size: 11″ x 14″ x .5″ (Framed)
2012
Framed archival – Floating with permanent hinging on white acid-free mat board – Clear Glass
I'm at www.brycehudson.com