View allAll Photos Tagged constructivism
Bastard title from the photo album The Red Army, designed by Rodchenko and Stepanova 1938. Russian Constructivism.
Proun (Entwurf zu Proun S.K.), 1922–23. Watercolor, gouache, india ink, graphite, conté crayon, and varnish on buff paper, 8 7/16 x 11 3/4 inches (21.4 x 29.7 cm). Solomon R. Guggenheim Museum, New York,
Lazar Markovich Lissitzky, better known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי), was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the former Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design.
El Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Jewish faith, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia, a country that was undergoing massive change at the time and that had just repealed its antisemitic laws. When only 15 he started teaching; a duty he would stay with for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works – a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany.
en.wikipedia.org/wiki/El_Lissitzky
Mural de 8 x 7 mts.
Realizado en tres dias, para ColorBa.
Desfragmentación I
Es la inmediación a dos condiciones. Por un lado la intención de utilizar los espacios vacíos de tal forma que no sé forme un carencia inactiva y por el otro, que el vacío interprete las formas en el espacio y favorezca la composición.
La obra y donde esta ubicada yuxtapone la misma idea.
Me provoco querer reflexionar sobre las transformaciones socio-espaciales del lugar y no participar solamente adecentando el lugar, de forma inocente.
Hay que entender el espacio y quienes lo habitan. Esta bueno cambiar el espacio, sin que estas acciones regeneren a las personas que residen, ni su esencia. Un lugar que es atractivo por lo que es, no tiene que terminar siendo igual a otro y convertirse en un ¨ no lugar ¨.
República de la Boca.
Y entonces, una melodía trivial, cantada tal y como fue
compuesta, con sus tiempos bien marcados, es atrapada
de inmediato por el músico de jazz con una modificación
del ritmo, con la introducción de ese swing que crea una
tensión. El músico lo atrapa por el lado del swing, del
ritmo, de ese ritmo especial. J.C.
Bryce Hudson
Untitled Composition (#27)
2013
Oil and Acrylic on Arches Watercolor Board with Wood and Mixed Media Adhesive
3 Dimensional Construction
Total Size: 11″ x 14″ x .5″
Size (Framed): 20″ x 24″ x 1″
Framed archival – Floating with permanent hinging on white acid-free mat board – Clear Glass
Signed and dated lower right in pencil.
As always, I'm at www.brycehudson.com - Stop by, Say Hi!
UdSSR . CCCP . USSR
CD :
Kraftwerk
The Man Machine
Kling Klang
1978
Design . Ralf Hütter
Postcard :
Tatlin
Neue Kunst Für Eine Neue Welt
_________________________
_________________________
Татлин
новое искусство для нового мира
____________________________
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Tatlin
New Art For A New World
1919
Use Hearing Protection
GMA
FKD 18X24
S&K Componon 240mm
Fuji Sper HRU
f 8 / 15 seconds (Indoor. Around 8:00 pm)
Dev. 1 min. (F1252M 1:1)
stop 30"
Fix 1 min.
This is an abstract, suprematist inspired image made with LetterMPress (and a little help from photoshop).
First I made most of the image in LetterMPress on my iPad, to establish the layout and proportions and finally added the white dots and the ring of quotation marks (saw teeth?) in Photoshop.
»Grungy Version«
Wallpaper 1920x1200 in homage to »El Lissitzky« created with Juan Ignacio Siwaks stunning typeface»Imperio«
Imperio is a font inspired by old posters, especially those related to constructivism and futurism. It reflects both the rationalism of Bauhaus as a propagandist and revolutionary spirit of an era.
This captivating collection of abstract artworks, titled "Jazz Echoes in Vivid Hues," marries the distinct styles of Bauhaus and Russian Constructivism with the rhythmic soul of jazz, particularly inspired by the legendary Miles Davis. Bauhaus, an influential German art school operating from 1919 to 1933, championed a harmony between the function of an object and its design, emphasizing simplicity, geometric shapes, and a unity of art and industrial design. Russian Constructivism, emerging around 1913, was marked by an abstract, minimalistic approach, often using industrial materials, and aimed to reflect modernity and societal change. Both movements sought to redefine the role of art in the rapidly evolving modern world.
In this series, the essence of jazz – its improvisation, fluidity, and depth – is interwoven with these early 20th-century art movements. The use of vibrant colors like yellow, pink, green, and gold adds a contemporary twist, bringing a new dimension to these classic styles. Each piece echoes the improvisational nature of jazz, the structural discipline of Bauhaus, and the abstract expressionism of Russian Constructivism.
Poem:
In hues of jazz, a canvas sings,
With echoes of Miles' trumpet rings.
Bauhaus lines in bold array,
Constructivist shapes in modern play.
Yellow, pink, and shades of green,
In abstract forms, a vivid scene.
Gold touches like a subtle light,
In Davis' tones, both soft and bright.
A fusion where past and present meet,
In every stroke, the old and sweet.
Jazz and art in a dance so fine,
A visual symphony, line by line.
Haiku:
Jazz notes in colors,
Bauhaus and Constructivism,
Echoes in vivid.
It was built in 1929-1933. designed by architect I. F. Milinis at the site of the oldest Moscow cemetery. According to legend, warriors who fell in the Battle of Kulikovo (1380) were buried on it.
Monument of constructivism, cultural heritage object of regional significance
The building of the "second wave" of club construction, of a huge scale, comparable to the areas of the recreation center "ZiL" and the recreation center to them. Gorbunova.
Milinis, the constant co-author of Ginzburg and an active participant in the OCA, favorably placed the building on the edge of the hill above the railway tracks.
Two buildings - club-sports and theatrical - are perpendicular to each other and were originally connected by transitions on the pillars. The theater hall with a foyer - a wide horizontal ribbon of glazing - is covered with a ceiling, which is visible on the facade. With him rhymed long curved visor above the main entrance. The Palace of Culture was rebuilt in the 1950s, when neoclassical details appeared on the facades (rustic) and stucco molding in the interiors.
The technical library of the Palace of Culture was one of the best in Moscow.
In the 1980s, DK experienced a second flourishing - it was one of the most popular rock venues in Moscow, from 1993 to 2002, the equally famous gay club "Chance" was opened there. In the mid-2000s, a reconstruction by an unknown project began in the cultural center, the interiors of the auditorium and the lobby were practically dismantled, the roof was replaced. Then the works were frozen, and still the prospects of the palace are not clear.
One of a series of digital abstractions inspired by the Constructivist movement begun in Russia.
Constructivism was a post-First World War outgrowth of Russian Futurism, and particularly of the 'corner-counter reliefs' of Vladimir Tatlin, which had been exhibited in 1915. The term itself would be coined by the sculptors Antoine Pevsner and Naum Gabo, who developed an industrial, angular approach to their work, while its geometric abstraction owed something to the Suprematism of Kasimir Malevich. ....the theorists Alexei Gan, Boris Arvatov and Osip Brik would arrive at a definition of Constructivism as the combination of faktura: the particular material properties of the object, and tektonika, its spatial presence. Initially the Constructivists worked on three-dimensional constructions as a first step to participation in industry: the OBMOKhU (Society of Young Artists) exhibition showed these three dimensional compositions, by Rodchenko, Stepanova, Karl Ioganson and the Stenberg Brothers. Later the definition would be extended to designs for two-dimensional works such as books or posters, with montage and factography becoming important concepts.
These works are most influenced by Vladimir Tatlin's 'tower'. en.wikipedia.org/wiki/Image:TatlinMonument3int.jpg
"The canonical work of Constructivism was Vladimir Tatlin's proposal for the Monument to the Third International (1919) which combined a machine aesthetic with dynamic components celebrating technology such as searchlights and projection screens. Gabo publicly criticized Tatlin's design saying Either create functional houses and bridges or create pure art, not both. This had already led to a major split in the Moscow group in 1920 when Gabo and Pevsner's Realistic Manifesto asserted a spiritual core for the movement. This was opposed to the utilitarian and adaptable version of Constructivism held by Tatlin and Rodchenko. Tatlin's work was immediately hailed by artists in Germany as a revolution in art: a 1920 photo shows George Grosz and John Heartfield holding a placard saying 'Art is Dead - Long Live Tatlin's Machine Art', while the designs for the tower were published in Bruno Taut's magazine Fruhlicht.
Дом-коммуна на улице Орджоникидзе после капитального ремонта.
Communal House of the Textile Institute is a constructivist architecture landmark located in the Donskoy District of Moscow
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
Taken yesterday in the gap between two meetings. Topped off with a few beers at the Bolton Arms with the boys in Old Basing