View allAll Photos Tagged constructivism
Vladimir Tatlin ...
Element Fläche
1923
Ohne den Konstruktivismus ist die Konkrete Kunst nicht verständlich. Ohne den Konstruktivismus hätte es die Konkrete Kunst wahrscheinlich gar nicht gegeben. Zeit, sich einmal näher mit dem Konstruktivismus und seiner Bedeutung für die Konkrete Kunst zu befassen. In den kommenden Tagen werde ich dazu mal einige Artikel zum russischen Konstruktivismus zusammentragen und an dieser Stelle veröffentlichen. Der Konstruktivismus entsteht um die Mitte der zehner Jahre des 20. Jahrhunderts in Russland.
Konstruktivismus in der Reflexion ...
– Die Grundidee
– Moderne Kunst verstehen
Der russische Konstruktivismus ist untrennbar mit Wladimir Tatlin und Kasimir Malewitsch verbunden. Die abstrakten Reliefkonstruktionen von Wladimir Tatlin wurden erstmals 1913 als „Konstruktivismus“ bezeichnet. Dieser Konstruktivismus, der „… Voraussetzungen im Kubismus, Futurismus und Kubofuturismus hatte, teilt sich in zwei Hauptzweige: den Utilitarismus um Wladimir Tatlin … mit der Intention, die Kunst für Architektur, Design, Typographie, Bühnenbilder und Mode zu nutzen und zur Revolution der Gesellschaft einzusetzen und den Suprematismus um Kasimir Malewitsch, der die Kunst gesellschaftlicher Funktionalisierung zugunsten reiner geometrischer Formbestimmung entzog.
Er spiegelte als ästhetisch-künstlerisches Element die politischen Konzepte wieder. Die Künstler verstanden sich als offizielle Vertreter der politischen Funktionäre. Ihr Ziel ist es, das kommunistische Gedankengut mit ihrer Kunst ins Volk zu tragen. Dass Kunst als Informationsträger in einem großen Rahmen für die Menschen dienen kann, ist die große Erkenntnis und Leistung, die wir den russischen Konstruktivisten verdanken. In dem Drang einen absolut neuen Staat zu erschaffen tendiert diese Art des Funktionalismus in Richtung Propaganda.
Der russische Konstruktivismus versucht ein neues Vokabular zu kreieren, um sich von der Vergangenheit abzugrenzen. „Ingenieure“ nennen sich die konstruktivistischen Künstler und ihre Architektur bezeichnen sie als die „Front der Kunst“. Tatlin spricht vom „Sieg der Maschinenkunst“.
Das russische Gegenstück zum Kubismus gründet sich auf die einfache Natur der Volkskunst und den eckigen Formen der russischen Holzpuppen. Diese Richtung, bekannt als Neo- Primitivismus, ist von mehreren Faktoren beeinflusst: Henri Matisse, den Fauvisten, den „luboks“(satirische Holzschnitte), Ikonen, und den Reklamemalern.“
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Mixed media assemblage. The bottom right hand corner still seems a little unfinished. Might add something else here.
This is a link to more information about how this was made.
justinbarriekelly.weebly.com/ldquohang-this-on-your-fuseb...
For some reason this works best as a non static image. If you look at it while rotating your phone or tablet it is much more interesting. Maybe I have to mount it on an oscillating motor.
Acrylic and acrylic marker on canvas 25.75" x 20.75" 4.4.2025 www.saatchiart.com/en-jp/art/Painting-High-Altitude-Terra...
Hausfassaden an der Wiesenstraße in Dinslaken - übereinandergelegt, gedreht und verwischt - Originalbild mit iPhone 7 gemacht
Remix version of facades
Digital work. I was on the verge of going into a very detailed and complicated composition then stopped.
Dedicated to Paul B0udreau, a consummate artist and one of the very first people I became friends with here on Flickr.
View Large on Black.
© Richard S Warner ( Visionheart ) - 2014. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
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’sᴛʀᴇᴇᴛs ᴏғ ᴋʜᴀʀᴋɪᴠ’ sᴇʀɪᴇs🇺🇦
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Kharkiv Region State Administration
(Sums’ka Street/Freedom Square)
Харківська Обласна Державна Адміністрація
(вул. Сумська/площа Свободи)
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•ᴵᴾᴴᴼᴺᴱ 7+
•ᶜᴬᴹᴱᴿᴬ+ 2
•ᴴᴵᴾˢᵀᴬᴹᴬᵀᴵᶜ
/ᴸᴱᴺˢ: Joey | ᶠᴵᴸᴹ: La Seine | ᶠᴸᴬˢᴴ: Apollo/, ᴬᴰᴶᵁˢᵀᴹᴱᴺᵀˢ
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Repost of recent but not new abstract composition in Amity Street series where I started these with ballpoint pens, rulers, templates, protractors and salad bowls.
Photo of the permutation series. Title is "permutation 041" from monochromeandminimal by project:pietern. Size of the sculpture is 29cm x 29cm x 5.8 cm
a skateboarder is doing a trick on a ramp in a skate park in the city of london, Alberto Burri, constructivism, film, a photo
iPod touch's camera / brushes+scratchcam fx+pictureshow+decim8++vsco+filterstorm+enlight+phototoaster
It gets real :-)
Outdoor photo of my new sculpture. I like the direct direction of Sunlight and the contrast to the organic rotte structure in the background.
Title of the sculpture is: permutation 047.
Size is 29cm * 29cm * 1.3cm.
Artwork by monochromeandminimal | project:pietern.
The end of the "Manhattan" series.
28 images in all, the series dates from June of 2015. Subsequent trips to New York will supply more images which'll be added to the collection.
We finish up with one of the "Postcards from the Divine". Here the Cathedral is taken further out into a kind of mystical Surrealism, with the happenstance kismet of unintended symbols and other figures being created out of the mirroring effect. I think of this image as less of a representational image, a "picture OF", than I do of it as a very detailed abstraction. From time to time I like to take "reality" to the cusp of pure abstraction.
St. John the Divine is the John that wrote the fantastically mystical and impenetrable Book of Revelations, the most incredibly symbolic and utterly uncompromisingly visionary book of the whole Bible. It seemed fitting to give the cathedral named after him this final rendition.
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Music Link: "Awaken" - YES, from their 1977 album, "Going for the One". Considered by many fans and critics as well as key members of the band to be their greatest achievement. Recorded in Montreux, Switzerland, YES were profoundly affected their alpine location and felt their collective inspiration was at its all time highest.
"Awaken" is a large piece, with a grand, mystical and cosmic theme to it. It's pure YES in every way. If one were to choose one single song to represent this band and what they were all about it, it would be "Awaken".
Since the piece is so grand in scope and vision I chose it to accompany this image of a Cathedral named after the author of the most profoundly mystical book in the New Testament. Searching for the right close to the "Manhattan" series and of the 3 "Postcards from the Divine" I wanted something big and majestic. "Awaken" seemed a good choice.
The video, that is closely synched to the music, is a mystical thing in itself, reflecting nicely the cosmic themes of the song.
www.youtube.com/watch?v=AHLPOUCaMtY
Zoom in !!!
© Richard S Warner ( Visionheart ) - 2015. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
Photo of my new sculpture. Title is permutation 046. I build this concept some time ago and show the visualization at Instagram. I have problems to build a physical object. Last month I changed my technology to SLA (MSLA) and get so much more details....I can realize so much finer Details :-) Now, I build this object :-). Size of the object is 12cm * 12cm * 1.5 cm. Artwork by monochromeandminimal project:pietern.
Channelling Rodchenko, this is my favourite outdoor shot for 2022, so far.
One of several projects, that explore photography as evidence amongst other ideas.
Blog | Tumblr | Twitter | Website | Instagram | Photography links | s2z digital garden | pixelfed.social | glass | grainary | Vero
Visualization of my next sculpture. Title is curved cubes 02 from monochromeandminimal by project:pietern.
UBS picks Frankfurt over London ...
I don't know if UBS seeks to establish itself as a rival financial hub to London following Brexit ; the only thing I know is that you're dwarfed at the outside,you have to crane your neck up to see the giant in its entirety and to discern its three - keys logo,which was adopted in 1937 and stands for confidence, security, and discretion.
OpernTurm (Opera Tower) is a 43-storey 170 m (560 ft) Tower Block opposite Alte Oper (Old Opera),just have a look at the next photo to see the wonderful mansion of Renaissance architecture and to read the inscription on the frieze,which reads:
"Dem Wahren, Schönen, Guten", "To the True, the Beautiful, the Good" ...
"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.