View allAll Photos Tagged constructivism
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.
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
Alexey Victorovich Shchusev (1873 – 1949) was a Russian and Soviet architect who was successful during three consecutive epochs of Russian architecture – Art Nouveau (broadly construed), Constructivism, and Stalinist architecture, being one of the few Russian architects to be celebrated under both the Romanovs and the communists, becoming the most decorated architect in terms of Stalin prizes awarded.
In the 1900s, Shchusev established himself as a church architect, and developed his proto-modernist style, which blended Art Nouveau with Russian Revival architecture. Immediately before and during World War I he designed and built railway stations for the von Meck family, notably the Kazansky Rail Terminal in Moscow. After the October Revolution, Shchusev pragmatically supported the Bolsheviks, and was rewarded with the contract for the Lenin Mausoleum. He consecutively designed and built three mausoleums, two temporary and one permanent, and supervised the latter's further expansion in the 1940s. In the 1920s and early 1930s he successfully embraced Constructivist architecture, but quickly reverted to historicism when the government deemed modernism inappropriate for the Communist state. He was one of the members of the art association ‘The Four Arts’, which existed in Moscow and Leningrad in 1924-1931.
His career proceeded smoothly until September 1937, when, after a brief public smear campaign, Shchusev lost all his executive positions and design contracts, and was effectively banished from architectural practice. Modern Russian historians of art agree that the charges of professional dishonesty, plagiarism, and exploitation raised against Shchusev were, for the most part, justified. In the following years he gradually returned to practice, and restored his public image as the patriarch of Stalinist architecture. The causes of his downfall and the forces behind his subsequent recovery remain unknown.
Taken yesterday in the gap between two meetings. Topped off with a few beers at the Bolton Arms with the boys in Old Basing
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."
Friedrich Vordemberge-Gildewar
Title: (Composition) Untitled Composition (1936),
3 color serigraph after a 1936 lithograph.
Signed by the artist's widow and numbered 14/150
Printed by Atelier Arcay, Paris and issued in the portfolio abstraction, création, art non figuratif 1932 - 1936 published by Paul Nemours, Paris, 1973,
Size: Sheet: 84.5 x 66.0 cm - (33¼ x 26 inches)
Condition: Mint
Acquired at auction from Creighton Davis Gallery, San Marcos, California in 2012
Further information: The group Abstraction Création was formed in Paris in 1931; Auguste Herbin was its president and George Vantongerloo vice president. Other members of the board of directors were Jean Arp, Albert Gleizes, Frantisek Kupka and George Valmier. Artists from all over the world were invited to join and send illustrations of their work to be included in the five yearbooks issued between 1932 and 1938 (in black and white). These books are now very rare collectors' items and the 1973 portfolio, in large format and full color shows the wide perspective of abstract art in the 1930s.
The Piet Mondrian I acquired a few years ago is from a similar portfolio.
As always, I am at www.brycehudson.com stop by, say hi ;-) I love to network with and meet other modernists and art/design enthusiasts!
If you really want to know everything about this guy and the portfolio from which it came:
30 Silkscreens and Lithographs by various early 20th century Abstract artists in a Portfolio
Title: Abstraction Creation Art Non Figuratif 1932-1936
Portfolio size: 89.5 x 74 cm / 35.2 x 29.1 in
Additional information: This is a rare and important complete portfolio that was created to celebrate the French art movement: book "Abstraction Creation Art Non Figuratif.
This portfolio includes an introduction by Margit Staber in three languages (French, English and German), a table of content and
30 Silkscreens and Lithographs in colors by various artists (as detailed below). Each one of the prints is printed on a full seperate sheet and is presented in a plastic folio.
The portfolio was printed in 1973 in a limited edition of only 150 copies (there were an additional 50 artists proofs).
The editor was Paule Nemours.
The prints were mostly printed by Atelier Arcay in Paris but some of them were printed by other printers such as Michel Casse, Paris ; Mourlot,Paris ; Hans Baurle, Stuttgart ; Michel Caza, Franconville ; Franco Sciardelli, Milano.
list of artist, titles, technique and signatures:
1. Hans Arp, Composition, Silkscreen, hand signed by Max Bill.
2. Max Bill, Construction en deux parties, Silkscreen, hand signed by Max Bill
3. Alexander Calder, Composition, Lithograph, hand signed by Alexander Calder
4. Sonia Delaunay-Terk, Rythmes-Couleurs n.816, Silkscreen, hand signed by Sonia Delaunay-Terk
5. Cesar Domela, Compostion, Lithograph and Silkscreen, hand signed by Cesar Domela
6. Hans Erni, Spirale, Silkscreen, hand signed by Hans Erni
7. Hans Fischli, Spuren auf weissem grund 3, Lithograph, hand signed by Hans Fischli
8. Frantisek Foltyn, Composition, Silkscreen, hand signed by Frantisek Foltyn
9. Jean Gorin, Composition spatio-temporelle n.36, Silkscreen, hand signed by Jean Gorin
10. Jean Helion, Equilibre, Lithograph, hand signed by Jean Helion
11. Wassily Kandinsky, Composition, Silkscreen, hand signed by Nina Kandinsky
12. Theo Kerg, Graphisme, Silkscreen, hand signed by Theo Kerg
13. Frantisek Kupka, Abstraction, Silkscreen, stamped signed and authorized by A.G. Martinel
14. Fausto Molotti, Les deux spirales, Lithograph, hand signed by Fausto Molotti
15. Laszlo Moholy-Nagy, Construction, Silkscreen, hand signed by Hattula Hug-Moholy-Nagy
16. Piet Mondrian, Composition D, Silkscreen, hand signed by Max Bill.
17. Taro Okamoto, Espace, Lithograoh, hand signed by Taro Okamoto
18. Antoine Pevsner, Naissance de l'univers, Silkscreen, hand signed by Virgiania Pevsner
19. Mauro Reggiani, Ritmo geometric, Silkscreen, hand signed by Mauro Reggiani
20. Hans Schiess, L'appel, Silkscreen, hand signed by Hans Schiess
21. Henryk Stazewski, Obraz abstrakcyjny II, Silkscreen, hand signed by Henryk Stazewski
22. Wladyslaw Strzeminski, composition, Silkscreen, stamped signed by authorized by Muzeum Sztuki
23. Sophie Tauber Arp, Forme Bleue, Silkscreen,hand signed by Max Bill
24. Theo Van Doesburg, Composition, Silkscreen, stamped signed by Nelly Van Doesburg
25. George Vantongerloo, Y=-x2+bx+c rouge vert, Silkscreen, hand signed by Max Bill
26. Luigi Veronesi, Composition, Silkscreen,hand signed by Luigi Veronesi
27. Paule Vezelay, Grey picture, Silkscreen, hand signed by Paule Vezelay
28. Jean Villeri, Composition, Lithograph, hand signed by Jean Villeri
29. Friedrich Vordemberge-Gildewart, Compostion, Silkscreen,stamped signed by Leda Vordemberge
30. Gerard Vulliamy, Composition, Lithograph, hand signed by Gerard Vulliamy
A famous photo by Boris Ignatovich, a constructivist Soviet photographer. A great photo, it was an inspiration for me to try my own hand at a similar composition. Trying to reproduce the old classic photo, you realize how much Ignatovich put into his picture when he shot it in the 1930s. For one, his photo brings out the veins in the foot, giving the Hermitage Atlantes a certain proletarian interpretation. The pic is practically saying: look what hard work it is to be the base of support for all of this fancy superstructure--the imperial state, its arts, its prestige. One can also think about his angle of view as one embodying the base in the Marxist sense of the material base and the view of the old culture as the superstructure as Marx understood it (the mindfuck for the proletariat); Ignatovich revealed to us the proletarian base of the emblem of the cultural superstructure, the Hermitage. In a way, the picture echoes Andrey Platonov: the way his proles tend to see the world: through the physical effort, sweat, and relentless labor.
But from the vantage point of the post-communist age, the foot dominating the agora may be seen as the "iron heel" of the state, the foot of the leviathan oppressing the little human figures and their environment. Bravo, Ignatovich!
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.
Bryce Hudson
Untitled Composition (#26)
2013
Oil and Acrylic on Arches Watercolor Board with Wood and Mixed Media Adhesive
3 Separate pieces consisting of the following:
Total Size: 12″ x 12″ x .5″ (Framed)
Framed archival – Floating with permanent hinging on white acid-free mat board – Clear Glass
Signed and dated lower right in pencil.
I'm at www.brycehudson.com
Couverture d'une brochure sur le projet de V. E. Tatline pour un monument à la IIIè Internationale
Nikolaï Pounine (1888-1953), critique, professeur et historien de l'art, est l'auteur de cet ouvrage de référence sur Tatline.
N. Pounine est mort au goulag à l'époque des purges staliniennes, il a été le compagnon d'Anna Akhmatova, poétesse russe.
fr.wikipedia.org/wiki/Nikola%c3%af_Pounine
Document présenté 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
www.grandpalais.fr/fr/evenement/rouge
La maquette de la tour Tatline dans l'exposition Rouge
www.flickr.com/photos/dalbera/32539337427/in/album-721576...
Autre maquette de la tour Tatline au centre Pompidou Metz (photo dalbera)
www.flickr.com/photos/dalbera/4961047799/in/album-7215762...
Autre maquette au Moderna Museet de Stockholm (photo dalbera)
www.flickr.com/photos/dalbera/494623165/in/album-72157600...
I was biking home from the library still thinking about constructivism when I saw another object for my things fallen series. Bright shiny objects tend to attract my attention. I didn't have my camera with me so I picked it up and took it home to photograph it.
It's a Winchester 30-30. From Wikipedia:
The .30-30 Winchester/.30 Winchester Center Fire/7.62X51Rmm cartridge was first marketed in early 1895 for the Winchester Model 1894 lever-action rifle. The .30-30, as it is most commonly known, was America's first small-bore, sporting rifle cartridge designed for smokeless powder. The .30-30 has established itself as one of the most common deer cartridges in North America, selling more ammunition to deer hunters than any other cartridge, including the venerable .30-06 Springfield.
Before I knew that (obviously from looking it up online), I didn't know what kind of casing it was. Maybe it had come from a police officer's gun. I imagined a cop standing there on the corner or more likely crouched behind the door of her cop car, shooting at someone who, good liberal that I am, I imagined as economically disadvantaged. The thought of this police drama occurring on this street corner I pass every day on my way to the university was disconcerting.
Whatever it was I knew it came out of some kind of gun and now it had fallen here on the street at the corner of 4th Ave and 6th Street. It reminded me of another time a brightly colored object like this caught my eye. It was in Colombia. They were green plastic shotgun shells from some campesino paramilitaries. I picked them up out of the foliage near the river and took them home too. I still have them in my desk drawer, years later. Guns fire and for all the long, complicated histories of violence and oppression and death that they leave in their wake, these shells are the only tangible things that you can pick up. I rode home thinking about guns and violence and death souvenirs.