View allAll Photos Tagged constructivism
Panorama der Frankfurter Skyline vom südlichen Mainufer gesehen. Panorama aus acht Hochformataufnahmen zusammengesetzt.
Zu erkennen sind u.a. das höchste Hochhaus von Frankfurt (Commerzbank Turm 259 m, Fertigstellung in 1997) sowie der Kaiserdom, dessen Tum mit einer Höhe von fast 95 Metern bis 1972 die höchste Erhebung in Frankfurt war.
comments and constructive criticism always welcome.
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The former Van Nelle Factory (Dutch: Van Nellefabriek) on the Schie river in Rotterdam, is an important historic industrial building in the world.
The buildings were designed by architect Leendert van der Vlugt from the Brinkman & Van der Vlugt office in cooperation with civil engineer J.G. Wiebenga, at that time a specialist for constructions in reinforced concrete, and built between 1925 and 1931. It is an example of Nieuwe Bouwen, modern architecture in the Netherlands.
In the 20th century it was a factory, processing coffee, tea and tobacco and later on additional chewing gum, cigarettes, instant pudding and rice. Currently it houses a wide variety of new media and design companies and is known as the Van Nelle Design Factory ("Van Nelle Ontwerpfabriek" in Dutch). Some of the areas are used for meetings, conventions and events.
The Van Nelle Factory shows the influence of Russian constructivism.
The Van Nelle Factory is a Dutch national monument (Rijksmonument) and in June 2014 it was added to the Unesco list of world heritage sites.
Submitted: 09/05/2016
Accepted: 17/05/2016
Ich gebe es zu, es ist ein bisschen weit hergeholt ein Treppengeländer als Zaun zu bezeichnen.
comments and constructive criticism always welcome.
#133
"Construcción Vacía", Donostia, Guipúzcoa, España.
Pese a que esta obra del escultor vasco Jorge Oteiza (1908 – 2003) se conoce simplemente como Construcción Vacía, tiene un nombre original mucho más largo: Construcción vacía con cuatro unidades negativo – positivo. Un título muy propio de la corriente artística en la que podríamos enmarcar la obra: el constructivismo. Si bien por sus líneas simples y la economía de medios en su forma, también tiene mucho del miniamilismo.
El caso es que esta enorme escultura que alcanza los 6 metros de altura y que está realizada en acero corten fue adquirida por el Ayuntamiento de San Sebastián en 2002 para ser colocada en el Paseo Nuevo que recorre toda la zona de la Playa de la Concha. Pero la obra es fruto de un trabajo mucho anterior. Concretamente de la propuesta que hizo Oteiza en el año 1957 para la Bienal de Arte de Sao Paulo, Brasil.
Sin embargo, varias décadas después se instaló aquí, en la ciudad donde un año después moriría el escultor guipuzcoano. Y precisamente en el otro extremo del Paseo Nuevo haciendo contraste con la obra El Peine de los Vientos de Eduardo Chillida, ubicada en la otra punta de la bahía de San Sebastián. De alguna forma, era el modo de que la ciudad rinda tributo a los que están considerados como los escultores vascos más prestigiosos del siglo XX. Los cuales por cierto también coincideron mucho tiempo antes trabajando en el emblemáticos Santuario de Arantzazu.
Esta obra plasma algunos de los planteamientos artísticos que convirtieron a Oteiza en uno de los creadores más revolucionarios de su tiempo. Siendo un referente para muchos escultores. Si bien es cierto que no se trata de un artista fácil para el gran público, dado que plantea a veces conceptos demasiados complejos y densos.
Esos conceptos a veces, para la gran mayoría no son muy reconocibles en sus obras. Y para terminar de comprenderlos hay que recurrir a los muchos escritos que nos dejó con sus reflexiones artísticas y filosóficas. Por ejemplo respecto a sus conclusiones sobre este concepto de construcción vacía escribió: «Todos quieren decir algo por ocupación, yo quiero no decir nada, dejar la huella del vacío, de esto que uno no debe decir. Siempre pasa nada solamente una desocupación pasa y algo ha ocupado un sitio vacío».
Ciertamente no es muy fácil de comprender, pero lo que es indudable que las obras que Oteiza hizo en los años 50 han tenido una enorme repercusión en la escultura de vanguardia y actual. Tanto en lo referente a la forma como en cuanto al proceso creativo, ya que lo más destacado de su legado, es que con él se comenzaron a realizar las series escultóricas concebidas no desde la forma, sino partiendo de una idea totalmente abstracta.
Although this work by the Basque sculptor Jorge Oteiza (1908 - 2003) is simply known as Empty Construction, it has a much longer original name: Empty construction with four negative - positive units. A title very typical of the artistic current in which we could frame the work: constructivism. Although for its simple lines and the economy of means in its form, it also has a lot of minileness.
The fact is that this huge sculpture that reaches 6 meters high and is made of steel corten was acquired by the City of San Sebastian in 2002 to be placed on the New Promenade that runs through the area of Playa de la Concha. But the work is the result of much earlier work. Specifically of the proposal made by Oteiza in 1957 for the Art Biennial of Sao Paulo, Brazil.
However, several decades later he settled here, in the city where a year later the Guipuzcoan sculptor would die. And precisely at the other end of the Paseo Nuevo, contrasting with the work El Peine de los Vientos by Eduardo Chillida, located on the other side of the San Sebastián Bay. In a way, it was the way that the city paid tribute to those who are considered the most prestigious Basque sculptors of the 20th century. Which by the way also coincided a long time before working in the emblematic Sanctuary of Arantzazu.
This work captures some of the artistic approaches that made Oteiza one of the most revolutionary creators of his time. Being a reference for many sculptors. While it is true that it is not an easy artist for the general public, given that sometimes poses concepts too complex and dense.
These concepts sometimes, for the great majority are not very recognizable in their works. And to finish understanding them we must resort to the many writings that he left us with his artistic and philosophical reflections. For example, regarding his conclusions about this empty construction concept, he wrote: "Everyone wants to say something for occupation, I want to say nothing, to leave the trace of emptiness, of this that one should not say. It always happens nothing but an unemployment happens and something has occupied an empty place ».
It is certainly not very easy to understand, but what is certain is that the works that Oteiza did in the 50s have had a huge impact on avant-garde and current sculpture. Both in terms of the form and the creative process, since the highlight of his legacy, is that he began to make sculptural series conceived not from the form, but starting from a totally abstract idea.
*************** Dedicated, especially, to our dear friend and colleague, Gerard ( Pifou ). With ALL good wishes !!!!!! **********
Music Link: "Meditation #2" - Laraaji & Brian Eno, from their album "Ambient 3 - Day of Radiance". In 1980 Brian Eno changed the fabric of music with four recordings titled "Ambient". This is from the only collaborative work that appeared in the series. Laraaji's hammer dulcimer or zither is treated to great effect by Eno's production and mixing work, creating an album of airy, evanescent, light filled pieces.
www.youtube.com/watch?v=gBvkibKmMxg&list=PLFB35C18A31...
Click on Image to Enlarge !!!
© Richard S Warner ( Visionheart ) - 2015. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
An unforeseen dedication. This one is in memory of Graham Coughtry, a great painter in Canadian Art History and a teacher with whom I shared many India stories. I learned a lot about classical painting styles under his tutelage. One of his favourite classical terms was "Sprezzatura" - meaning wild and unrestricted brush strokes having an immediacy and spontaneous directness to them. He'd often pass by me and my easel and we'd yell, "SPREZZATURA!" together.
Graham asked me once if I thought that spending time in India showed up in my choice of colours. "Oh yeah", I said, "particularly with my blues and oranges ... totally". "Ahhh", he replied, "You can never go wrong with blue and orange". This one's for you, Gray.
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© Richard S Warner ( Visionheart ) - 2014. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
A small collage. Pieces laid down on linen on board. This is a very delicate piece and it will need to be framed under glass I think. 172mm by 345mm by 15mm. Signed (hand stamped) signature bottom left on border.
Wie man einen Sol LeWitt um die Ecke bringt ...
;-) ...
Solomon “Sol” LeWitt (* September 9, 1928 in Hartford, Connecticut; † April 8, 2007 in New York) was an American minimalist artist. He developed the term Conceptual Art.
English
LeWitt attended Syracuse University in New York from 1945 to 1949 before spending a year in Korea and Japan with the US Army in 1951. In 1953, he attended the Cartoonist and Illustration School in New York and worked as a graphic artist for the architect Ieoh Ming Pei from 1955 to 1956. From 1960 to 1965 he worked at the Museum of Modern Art, where he made the acquaintance of Dan Flavin, Robert Ryman, Robert Mangold and Scott Burton. Between 1964 and 1971 he worked at various institutions, including the Museum of Arts School, taught at Cooper Union, the School of Visual Arts and the Education Department of New York University. In 1976, together with Lucy Lippard, he founded the publishing house Printed Matter to organize the distribution of artists' books.
Sol LeWitt's work was based on the constructivism of the Bauhaus and the Dutch artists' association De Stijl. Sol LeWitt developed the ideas of these styles further and experimented with architectural spatial structures, grid patterns and grid constructions, which he reduced to a minimum. The artist recorded his work in numerous documentations that reflect his view of art theory.
In his theoretical work Paragraphs on Conceptual Art from 1967, with which he became an important stimulus for Conceptual Art, he defined his art as “conceptual” - in contrast to visually oriented “perceptual art” - as it was primarily of intellectual interest to the viewer. Here, the idea, the concept of a work is in the foreground.
In his works, which have also been exhibited several times at the Museum of Modern Art in New York, lattice structures made of wood and/or metal appear again and again. Early works include drawings and prints with fine line and grid structures as well as large geometric grid objects. Large colored wall drawings followed from 1968. Sol LeWitt was a four-time participant in the documenta in Kassel from 1968 to 1982.
In 1979, Sol LeWitt developed a video work for Lucinda Child's dance piece Dance. During the live performances, film footage of the piece is projected synchronously onto the stage via a meter-high, transparent screen, so that the dancers interact with their cinematic alter egos. The video projection, in which the dancers dance on a gridded floor, serves as the only stage set for the piece. Dance is now one of the classics of the avant-garde and had a decisive influence on postmodern dance.
Deutsch
Wie man einen Sol LeWitt um die Ecke bringt ;-) ...
Solomon „Sol“ LeWitt (* 9. September 1928 in Hartford, Connecticut; † 8. April 2007 in New York) war ein US-amerikanischer Künstler des Minimalismus. Er entwickelte den Begriff Konzeptkunst (engl. Conceptual Art).
LeWitt besuchte von 1945 bis 1949 die Syracuse University in New York, bevor er 1951 für ein Jahr mit der US-Armee nach Korea und Japan ging. 1953 besuchte er die „Cartoonist and Illustration School“ in New York und arbeitete von 1955 bis 1956 als Grafiker für den Architekten Ieoh Ming Pei. Von 1960 bis 1965 arbeitete er am Museum of Modern Art, wo er Bekanntschaft mit Dan Flavin, Robert Ryman, Robert Mangold und Scott Burton machte. Zwischen 1964 und 1971 war er an verschiedenen Instituten tätig, so an der „Museum of Arts School“, unterrichtete an der Cooper Union, sowie an der School of Visual Arts und am „Education Department“ der New York University. 1976 gründete er zusammen mit Lucy Lippard den Verlag Printed Matter, um einen Vertrieb von Künstlerbüchern zu organisieren.
Sol LeWitts Werk basierte auf dem Konstruktivismus des Bauhauses sowie der niederländischen Künstlervereinigung De Stijl. Sol LeWitt entwickelte die Ideen dieser Stilrichtungen weiter und experimentierte mit architektonischen Raumstrukturen, Gittermustern und Rasterkonstruktionen, die er auf ein Minimum reduzierte. Seine Arbeiten hielt der Künstler in zahlreichen Dokumentationen fest, die seine Auffassung der Kunsttheorie reflektieren.
In 1989, he was elected an associate member of the Académie royale des Sciences, des Lettres et des Beaux-Arts de Belgique (Classe des Beaux-Arts)
n seinem theoretischen Werk Paragraphs on Conceptual Art von 1967, mit dem er zu einem wichtigen Anreger der Conceptual Art wurde, definierte er seine Kunst als „begrifflich“ – im Gegensatz zur optisch orientierten „Wahrnehmungskunst“ –, da sie für den Betrachter vornehmlich in geistiger Hinsicht interessant sei. Hierbei steht die Idee, das Konzept eines Werkes im Vordergrund.
In seinen Werken, die auch mehrfach im „Museum of Modern Art“ in New York ausgestellt wurden, tauchen immer wieder Gitterstrukturen aus Holz und/oder Metall auf. Frühe Werke sind Zeichnungen und Drucke mit feinen Linien- und Gitterstrukturen sowie große geometrische Gitterobjekte. Ab 1968 folgen große farbige Wandzeichnungen. Sol LeWitt war von 1968 bis 1982 vierfacher Teilnehmer der documenta in Kassel.
1979 entwickelte Sol LeWitt eine Videoarbeit für Lucinda Childs Tanzstück Dance. Filmaufnahmen des Stückes werden während der Live-Aufführungen über eine meterhohe, transparente Leinwand synchron auf die Bühne projiziert, so dass die Tänzer mit ihrem filmischen Alter Ego interagieren. Die Videoprojektion, in der die Tänzer auf einem gerasterten Boden tanzen, dient dem Stück als einziges Bühnenbild. Dance zählt heute zu den Klassikern der Avantgarde und beeinflusste den postmodernen Tanz entscheidend.
1989 wurde er zum assoziierten Mitglied der Académie royale des Sciences, des Lettres et des Beaux-Arts de Belgique (Classe des Beaux-Arts) gewählt.
Sol LeWitt lebte und arbeitete in Chester in Connecticut und in Spoleto, Italien, erzählte mir, wie oft, meine Freundin Wiki ...
At the exhibition "In the Eye of the Storm. Modernism in Ukraine" in the Lower Belvedere in Vienna.
"This comprehensive exhibition is the first presentation outside Ukraine to explore the development of modern art in the cultural centers of Kyiv, Lviv and Kharkiv during the first half of the 20th century. Modernism in Ukraine is revealed to be both international and avant-garde. From Jugendstil to Constructivism, the exhibition tells the tempestuous and fascinating history of cultural identity in Ukraine." www.belvedere.at/en/eye-storm
Deze foto is gemaakt in Nieuw Vennep.
Harp:
Brug in de Noordelijke Randweg bij Nieuw-Vennep over de Hoofdvaart.
De brug is 143 m lang. Lengte pyloon: 82 m.
De Calatravabruggen zijn drie bruggen over de Hoofdvaart in de Nederlandse gemeente Haarlemmermeer, ontworpen door de Spaanse architect Santiago Calatrava.
De opdracht ervoor werd hem in 1999 verstrekt.
Calatrava ontwierp drie witte tuibruggen, elk met een hellende stalen pyloon die zowel een esthetische als een constructieve functie heeft - typerend voor het werk van de Spanjaard.
De bruggen kregen vanwege de op snaren gelijkende tuien de namen van de instrumenten Harp, Citer en Luit.
This photo was taken in Nieuw Vennep.
Harp:
Bridge in the Northern Randweg near Nieuw-Vennep over the Hoofdvaart.
The bridge is 143 m long. Pylon length: 82 m.
The Calatrava Bridges are three bridges over the Hoofdvaart in the Dutch municipality of Haarlemmermeer, designed by the Spanish architect Santiago Calatrava.
The order for it was awarded to him in 1999.
Calatrava designed three white cable-stayed bridges, each with a sloping steel pylon that has both an aesthetic and a constructive function - typical of the Spaniard's work.
Because of the string-like tethers, the bridges were given the names of the instruments Harp, Zither and Lute.
Towering buildings, both Romantically Old and Brazenly New, come crashing into this intersection in front of the Park Plaza like a train wreck of human bodies that ensues when that one idiot stops at the top of the escalator as soon as they 'dismount' ... looking around for orientation.
Here the central 'core' of Manhattan abruptly stops for the gigantic and Elysian imperative of Central Park - the massive necessity that enables the Big Apple to breathe in every possible capacity.
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Music Link: Jon Hassell - "Harambe", from his album, "City: Works of Fiction". On this incredible album Hassell imagined fictional scenarios in various cities around the world and drew upon his unique blend of Jazz, Electronica, Third World music and a deep involvement in Digital Culture to create powerful pieces that reflect the beauty, power, danger, chaos and wonder of big cities. It seemed fitting, then, to apply his work to my New York images.
www.youtube.com/watch?v=A-n8LsXZRbQ
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© Richard S Warner ( Visionheart ) - 2015. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
Created for the "Shock of the New" group challenge "Urban Identities".
Music Link: "Electrical Language" - Be Bop Deluxe, from their final album "Drastic Plastic". BBD was a band formed around and supporting Bill Nelson who sang, played guitar and wrote all of their music. A fascinating man of very profound thinking, he went on after disbanding Be Bop to forge an impressive solo career far outside of the mainstream. During the 80's he produced and worked with such diverse artists as "A Flock of Seagulls" and former Japan front man, David Sylvian.
This entirely digital or "electrical" image seems to be complimented by this old 1980 chestnut, which suggests a look forward to a technical future while maintaining a nostalgia for a past that looked to an imagined future.
www.youtube.com/watch?v=TsarTcLyTKI
Click on Image to Enlarge.
© Richard S Warner ( Visionheart ) - 2015. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
It's been said that in order to 'make it' in New York, one has to find a way to create a very unique and immediately recognizable identity, a kind of impressive "branding" of self. This is seen in particular in the arts and underground worlds, alternative culture, which New York is also famous for.
Here the almost completely dissolved face portrays the failure, perhaps, of achieving identity and recognition in a city so large that sometimes extreme behaviours and personas are the only way to survive and flourish in the massive caverns of indifference.
Like many of these New York images, windows are involved. What's behind them and what's reflected in them. This creates a rich potential of possibilities and layering. This was shot in a shop window in the Rockefeller Centre, just off 5th Avenue.
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Music Link: "Funnel of Love" - SQURL ( Film Director, Jim Jarmusch's band ), from the soundtrack to his film, "Only Lovers Left Alive". This is the opening sequence when we get our first and fantastic look at the two protagonists of this most incredible of love stories.
Jarmusch chose to make his main characters vampires who no longer kill to live, who've grown very erudite and cultured, and who've been in love ... for centuries. He did this in order to ask questions about the nature of love, it's longevity and what it means to be committed to another being. How would a deeply loving relationship be .... if it lasted centuries or millennia, he asks?
The song itself questions identity and sureness of being, like the lovers in the story. It's brash, odd, even rough texture seemed to suit the image, itself in identity crisis.
www.youtube.com/watch?v=SB2vyZgOK-A
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© Richard S Warner ( Visionheart ) - 2015. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
Good suggestions so far
Emergence - from Tom
Blues in schmocusland - from Wjos
Profile - from Aurora
A story of edges - from Petra
Thanks
Explored 11/11/2010
light reflection foil and red crinkled cardboard - lit by LEDs
Spiegelfolie und rote Wellpappe, mit LED-Spots ausgeleuchtet
Photo of my new sculpture. Title is permutation 049. Size is 29cm * 29cm * 3cm. Artwork by monochromeandminimal | project:pietern.
Acrylic marker and ink on paper 21" x 18" March 30, 2025. www.saatchiart.com/en-jp/art/Drawing-Deep-Space-Tracking-...
A fanciful window display in another Bergdorff & Goodman window. This one just across the street from the bottom of Central Park.
High end fashion fantasy glaringly calls to the structural enormity all around it. It's candy coloured world blending with the impassivity before it. Both worlds fuse through the medium of reflection. The window facilitates simultaneous worlds.
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Music Link: "Beauty Queen" - Roxy Music, from their album "For Your Pleasure". The early 70's Roxy Music incarnation was a much more openly experimental and avant grade band than the slick, richly produced form they took in the 80's and beyond. They blindsided the music world with their shockingly brilliant combination of high fashion kitsch, 50's nostalgia and futuristic electronic aesthetics. They were the children of Pop Art and were artistically sophisticated enough to blend both High and Low art into one fantastic sound that no one, including the band and its members, have ever equalled since.
"Beauty Queen" seemed a nice touch to the image for it's slick Romanticism and it's Futuristic sonic picture.
www.youtube.com/watch?v=RAOFDI83OwE
Zoom in !!!
© Richard S Warner ( Visionheart ) - 2015. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
Thanks for View and Comment!
Everything is welcome - especially constructive criticism!
Diese Aufnahme der Fabrikhalle IBAG in Neustadt an der Weinstraße stammt aus dem Jahr 2013. Damals war das Gelände großräumig abgesperrt, die Halle in einem sehr schlechten Zustand. Beim Abriss der Gebäude 2014 musste auf dem Gelände eine Fliegerbombe entschärft werden. Das Gebäude wurde aufwendig restauriert und zu als Wohnraum umfunktioniert.
Fabrik IBAG und Brachland © ArtundUnart 2022
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Nr.20220112
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