View allAll Photos Tagged 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effort to promote Jewish culture in Russia, a country that was undergoing massive change at the time and that had just repealed its antisemitic laws.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.
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.
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.
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
Taken yesterday in the gap between two meetings. Topped off with a few beers at the Bolton Arms with the boys in Old Basing
Vladimir Yevgrafovich Tatlin, Ukrainian painter, sculptor, and architect remembered for his visionary “Monument to the Third International” in Moscow, 1920.
Tatlin was educated at the Moscow Academy of Fine Arts, graduating in 1910. Late in 1913 he went to Paris, where he visited Pablo Picasso, whose reliefs in sheet iron, wood, and cardboard made a deep impression on him. Returning to Moscow, Tatlin created constructions that he called “painting reliefs,” which he exhibited at a Futurist exhibition held in Petrograd (now St. Petersburg) in February 1915. He became the leader of a group of Moscow artists who tried to apply engineering techniques to the construction of sculpture. This developed into a movement known as Constructivism.
This type of avant-garde art continued for a brief period after the Russian Revolution of 1917, during which time Tatlin created his most famous work—the “Monument to the Third International,” which was one of the first buildings conceived entirely in abstract terms. It was commissioned in 1919 by the department of fine arts and exhibited in the form of a model 22 feet (6.7 m) high at the exhibition of the VIII Congress of the Soviets in December 1920. A striking design, it consisted of a leaning spiral iron framework supporting a glass cylinder, a glass cone, and a glass cube, each of which could be rotated at different speeds. The monument’s interior would have contained halls for lectures, conferences, and other activities. The monument was to be the world’s tallest structure—more than 1,300 feet (396 m) tall—but it was never built owing to the Soviet government’s disapproval of non-figurative art.
About 1927 Tatlin began experimentation with a glider that resembled a giant insect. The glider, which he called Letatlin, never flew, but it engaged his interest throughout his later life. After 1933 he worked largely as a stage designer.
european institute for progressive cultural policies
Aleksandr Zelenskii, Advertisement for Sappho cigarettes, 1924. From “Into Production!”:
"Into Production!”: The Socialist Objects of Russian Constructivism
Christina Kiaer
"In contrast to the dreamy, art-deco woman in the earlier Red October ad, and in contrast to the swooning “Sappho,” the Red October girl could be described as a “conscious” female subject. Of course this strange, jokey figure of a girl is not meant to actually represent the newly conscious woman emancipated by Bolshevism. But she functions as a sign for the discourse of female consciousness and emancipation, which was bound up within Constructivism with a set of ideas about new, active objects that can transform everyday life. Rodchenko’s wife Stepanova was his frequent model for this conscious Soviet woman, in photographs and photomontages published on book covers and in mass journals, such as his cover design for a book called The New Everyday. Life and Art (Novyi byt i iskusstvo), in which a confident Stepanova in a worker’s headscarf grins out at us much like the Red October girl.[22] Women and the novyi byt were connected, in Rodchenko’s imagination as much as in the Bolshevik discourse of women’s emancipation. But this connection did not lead him, like the Bolsheviks, to denigrate or attempt to eradicate byt."