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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.
The Cosmos lies in the conflict between man and the individual. With this theory as backdrop, TG makes these handmade books, full of letters, arrows, signs, buildings,
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.
By Ilan Garibi.
Abstract origami is so close to architecture. I keep exploring this connection through Bauhaus and constructivism
Cover for "The Results of the First Five-Year Plan" desgined by Stepanova and or Rodchenko, Russian Constructivist 1933. The photo-montage of Constructivism.
It makes for a large mockup. But Tatlin had a fantasy that this sculpture would dwarf the Eiffel Tower.
Bubble, 2019 See more images from my Artibles series in my profile or on my website. #artibles #intothedeep #artforsale #artprint #constructivism #abstractart #modernart #kineticart #opart #art #artprints #artoftheday #contemporaryart #abstraction #abstractart #interiordesign #decor #digitalart #fineart #geometric #geometricart #colorful #nycart #petersealystudio #petersealy#newyorkartist
А monument to Russian constructivism and avantgarde architecture.
Moscow, Russia. 2021.
Lens Nikon Nikkor PC-E 24/3.5
Iris, 2015 See other images from my Artibles series in my profile or on my website: petersealy.com #artforsale #artprint #aluminumprint #artibles #constructivism #new #arttherapy #art #print #artibles #colorful #constructivism #minimalism #wallart #digitalart #petersealystudio #artandphotography #newyork #nyc #manhattan #newyorkartist
This piece was done as an experiment in combining a contemporary product with style from the Constructivist era.
Bryce Hudson
Untitled Composition (#28)
2013
Oil on Arches Watercolor Paper and Board with mixed media adhesive
3 Dimensional Construction
Total Size: 22″ x 22″ x .4″
Size (Framed): 24″ 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.
I'm at www.brycehudson.com - Stop by, say hi!
House of Technical Studies (Дом технической учёбы), by Alexandr Gegello and David Krichevsky (1932).
Saint Petersburg, Russia.
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Le 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. Les films projetés datent de 1927.
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
european institute for progressive cultural policies
"Into Production!”: The Socialist Objects of Russian Constructivism
Christina Kiaer
"My first steps are toward IEinem cookies" poster by the Menert Bros.
"Einem was a major confectionery factory and well-known brand name before the revolution, so the slogan reminds viewers of the prerevolutionary life of this Soviet commodity. Rodchenko and Mayakovsky even seem to deliberately recall an artifact from the material culture of the pre-revolutionary past: an Einem advertising poster from the early 1900s, which also featured a single little girl, skipping across the Moscow River from the Kremlin toward the Einem factory, which lies on an island in the Moscow River to this day.[17] The slogan of this earlier poster, “My first step is for Einem cookies”, is also in the little girl’s own voice, suggesting that in his Red October rhyme",