View allAll Photos Tagged constructivism
국민대학교 의상디자인학과 졸업 패션쇼 (The 38th Kookmin University Fashion Show)
Students of Fashion Design presented their gradution portfolios through a fashion show, Seoul, Korea, Sept 18, 2010. Its theme was "Constructivism(구성주의)."
(c) Kyung K. Park
국민대학교 의상디자인학과 졸업 패션쇼 (The 38th Kookmin University Fashion Show)
Students of Fashion Design presented their gradution portfolios through a fashion show, Seoul, Korea, Sept 18, 2010. Its theme was "Constructivism(구성주의)."
(c) Kyung K. Park
국민대학교 의상디자인학과 졸업 패션쇼 (The 38th Kookmin University Fashion Show)
Students of Fashion Design presented their gradution portfolios through a fashion show, Seoul, Korea, Sept 18, 2010. Its theme was "Constructivism(구성주의)."
(c) Kyung K. Park
Society Woman's Cloth (Gold) - 2006
Artist: El Anatsui (Ghanaian, born 1944)
artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
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Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
Dans l'une des salles de la nouvelle galerie Tretiakov (dédiée à l'art en Russie au 20e siècle), un gardien épluche ses clémentines devant une installation contemporaine, reprenant nombre d'objets constructivistes.
Cette installation "Reproduction de l'exposition OBMOkhU de 1921" présente un certain nombre d'objets présentés au Salon de Moscou, à l'occasion de l'exposition de la Société des jeunes artistes (OBMOKhU), par le "1er groupe de travail de constructivistes", composé d'Alexander Rodchenko (Александр Михайлович Родченко), Vladimir et Georgii Stenberg (Владимир и Георгий Стенберги), Konstantin Medunetskii (Константин Медунецкий) et Karl Ioganson (Карл Вольдемарович Иогансон).
국민대학교 의상디자인학과 졸업 패션쇼 (The 38th Kookmin University Fashion Show)
Students of Fashion Design presented their gradution portfolios through a fashion show, Seoul, Korea, Sept 18, 2010. Its theme was "Constructivism(구성주의)."
(c) Kyung K. Park
국민대학교 의상디자인학과 졸업 패션쇼 (The 38th Kookmin University Fashion Show)
Students of Fashion Design presented their gradution portfolios through a fashion show, Seoul, Korea, Sept 18, 2010. Its theme was "Constructivism(구성주의)."
(c) Kyung K. Park
국민대학교 의상디자인학과 졸업 패션쇼 (The 38th Kookmin University Fashion Show)
Students of Fashion Design presented their gradution portfolios through a fashion show, Seoul, Korea, Sept 18, 2010. Its theme was "Constructivism(구성주의)."
designed by Joo-Ho Lee
(c) Kyung K. Park
Studio Photo 2D, 3D sur la thématique des Robots, Constructivisme, futurisme italien…. Robot Kids c’est une journée spéciale pour les enfants, avec des ateliers créatifs, de la musique, des installations... dans le cadre du Robot Festival et avec le département éducatif du Musée d’art Moderne de Bologne. Une après midi pour participer à une expérience multi-sensorielle...
Atelier «mascarades» par Studio Public, Installations avec l’association Shape, Musique avec Dj Bubble...
Reconstrucción de una sala del club obrero de la URSS, diseñada por Alexsandr Rodchenko y utilizada como sala de lectura en la Exposicion dedicada a Rodchenko y Popova. Definiendo el Constructivismo realizada en el MNCARS.
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Reconstruction of a chamber of the USSR Workers Club, designed by Alexsandr Rodchenko and used as Reading lounge for the past exhibition dedicated to Rodchenko and Popova. Defining Constructivism hosted at the MNCARS
Moscow. Home ARCEC Kremlin and CNS USSR and cinema "Udarnik", architekt B.Iofan, the street of Serafimovich. "House on the Embankment" (1927-1931)
Moscow. Building of "Narkomzem" (now the Ministry of Agriculture of Russia) , architect A.Shchusev, Sadovaya-Spasskaya Street, 11/1 (1928-1933)
Photo by the Franco-Russian historian and Sovietologist Anatole Kopp, 1966.
For an evaluation of Kopp's pioneering work on Soviet avant-garde architecture, as well as his photos of modernist buildings in the USSR, please see: wp.me/pgGDG-2SB
. . . is deepest red, and it flies atop a scale model of Tatlin's Monument to the Thirld International at the Royal Academy.
Heads up - the current exhibition "Building the Revolution" ends soon (Saturday 21 January). I got there yesterday and enjoyed it so much that I bought the book. New information has changed minds about the relationship pf Russian Constructivism and European Modernism, and the photographs taken by Richard Pare over the past twenty years or so are wonderful, especially when seen at large scale.
국민대학교 의상디자인학과 졸업 패션쇼 (The 38th Kookmin University Fashion Show)
Students of Fashion Design presented their gradution portfolios through a fashion show, Seoul, Korea, Sept 18, 2010. Its theme was "Constructivism(구성주의)."
(c) Kyung K. Park
국민대학교 의상디자인학과 졸업 패션쇼 (The 38th Kookmin University Fashion Show)
Students of Fashion Design presented their gradution portfolios through a fashion show, Seoul, Korea, Sept 18, 2010. Its theme was "Constructivism(구성주의)."
(c) Kyung K. Park
국민대학교 의상디자인학과 졸업 패션쇼 (The 38th Kookmin University Fashion Show)
Students of Fashion Design presented their gradution portfolios through a fashion show, Seoul, Korea, Sept 18, 2010. Its theme was "Constructivism(구성주의)."
(c) Kyung K. Park
Studio Photo 2D, 3D sur la thématique des Robots, Constructivisme, futurisme italien…. Robot Kids c’est une journée spéciale pour les enfants, avec des ateliers créatifs, de la musique, des installations... dans le cadre du Robot Festival et avec le département éducatif du Musée d’art Moderne de Bologne. Une après midi pour participer à une expérience multi-sensorielle...
Atelier «mascarades» par Studio Public, Installations avec l’association Shape, Musique avec Dj Bubble...
rusakov club, moscow, RU, 1927-29, architect: konstatin melnikov
"Inclined as Melnikov was to identify personally with the new urbanites for whom the workers' clubs were built, he naturally considered his own values relevant to the situation and sought to apply them in the clubs. Hence, as in his own house, he set the clubhouses against the hostile city rather than in it, employing sharply distinctive forms to make them appear 'as individualist against the general backdrop of urban building.' Inside, far from providing space for mobilizing people into a faceless mass, he envisioned settings that would enhance 'close intercourse among people, but in the context of their diverse strivings with respect to one another.'"
— S. Frederick Starr. Melnikov: Solo Architect in a Mass Society. p134-139.
국민대학교 의상디자인학과 졸업 패션쇼 (The 38th Kookmin University Fashion Show)
Students of Fashion Design presented their gradution portfolios through a fashion show, Seoul, Korea, Sept 18, 2010. Its theme was "Constructivism(구성주의)."
(c) Kyung K. Park
국민대학교 의상디자인학과 졸업 패션쇼 (The 38th Kookmin University Fashion Show)
Students of Fashion Design presented their gradution portfolios through a fashion show, Seoul, Korea, Sept 18, 2010. Its theme was "Constructivism(구성주의)."
(c) Kyung K. Park
One of a series of minimalist cubist compositions in blue. This piece is influenced by the Synthetic Cubism and constructivism of the English artist Ben Nicholson (1894-1982). Rothko is also an influence and there are are elements of Mondrian here too. The use of shading also gives these pieces a 3D effect.
국민대학교 의상디자인학과 졸업 패션쇼 (The 38th Kookmin University Fashion Show)
Students of Fashion Design presented their gradution portfolios through a fashion show, Seoul, Korea, Sept 18, 2010. Its theme was "Constructivism(구성주의)."
(c) Kyung K. Park
1924 modern ashtray, bowl, and teapot by Marianne Brandt, manufactured by the Bauhaus Metal Workshop
Installation view “Engineer, Agitator, Constructor: The Artist Reinvented”
The Museum of Modern Art
New York, New York
December 13, 2020 – April 10, 2021
Monumento a la Revolución, Ciudad de México (2010)
A partir del nunca terminado Palacio Legislativo diseñado por Émile Bernard en 1910, se construyó el monumento en 1932-1934 en una mezcla de Art Deco y Constructivismo Socialista por el arquitecto Carlos Obregón Sanatacilia, y esculturas de Oliverio Martínez.
Reconstrucción de una sala del club obrero de la URSS, diseñada por Alexsandr Rodchenko y utilizada como sala de lectura en la Exposicion dedicada a Rodchenko y Popova. Definiendo el Constructivismo realizada en el MNCARS.
____________________________________________
Reconstruction of a chamber of the USSR Workers Club, designed by Alexsandr Rodchenko and used as Reading lounge for the past exhibition dedicated to Rodchenko and Popova. Defining Constructivism hosted at the MNCARS
Studio Photo 2D, 3D sur la thématique des Robots, Constructivisme, futurisme italien…. Robot Kids c’est une journée spéciale pour les enfants, avec des ateliers créatifs, de la musique, des installations... dans le cadre du Robot Festival et avec le département éducatif du Musée d’art Moderne de Bologne. Une après midi pour participer à une expérience multi-sensorielle...
Atelier «mascarades» par Studio Public, Installations avec l’association Shape, Musique avec Dj Bubble...
Photo by the Franco-Russian historian and Sovietologist Anatole Kopp, 1966.
For an evaluation of Kopp's pioneering work on Soviet avant-garde architecture, as well as his photos of modernist buildings in the USSR, please see: wp.me/pgGDG-2SB
Abandoned 1920s appartments building after fire.
Электросталь, заброшенное многоэтажное жилое здание 1920-х годов после пожара. На углу работает магазин.
국민대학교 의상디자인학과 졸업 패션쇼 (The 38th Kookmin University Fashion Show)
Students of Fashion Design presented their gradution portfolios through a fashion show, Seoul, Korea, Sept 18, 2010. Its theme was "Constructivism(구성주의)."
(c) Kyung K. Park
국민대학교 의상디자인학과 졸업 패션쇼 (The 38th Kookmin University Fashion Show)
Students of Fashion Design presented their gradution portfolios through a fashion show, Seoul, Korea, Sept 18, 2010. Its theme was "Constructivism(구성주의)."
(c) Kyung K. Park
Untitled (1954/1957) by Naum Gabo (Naum Abramovitsj Pevsner)
Nikon FM2n, Zoom-Nikkor 80-200 1:4, Kodak Ektar 100, Nik Silver Pro Efex 2 (Reflecta ProScan 10T)
Studio Photo 2D, 3D sur la thématique des Robots, Constructivisme, futurisme italien…. Robot Kids c’est une journée spéciale pour les enfants, avec des ateliers créatifs, de la musique, des installations... dans le cadre du Robot Festival et avec le département éducatif du Musée d’art Moderne de Bologne. Une après midi pour participer à une expérience multi-sensorielle...
Atelier «mascarades» par Studio Public, Installations avec l’association Shape, Musique avec Dj Bubble...