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The Olympic games and its rivals
Bernard Vere

Olympia at this time of course, but might well have been aware that the film was in production). As a poster produced in fascist Italy to record 126 Of gods and men 33  Bruno Munari, advertisement for Olimpiadi, 1936. Lithograph (60 × 80 cm). Massimo & Sonia Cirulli Archive, New York the games hosted by another fascist country it is a reminder, like the Bauhaustrained Xanti Schawinsky’s 1934 Year XII of the Fascist Era poster for Mussolini, that although born of the political left, constructivism could also be put to use under extreme right-wing regimes. Alternatives

in Sport and modernism in the visual arts in Europe, c. 1909–39
Contemporary art and the problem of arthistorical periodisation
Peter Osborne

of the century (1914–24) in the series of ‘isms’ that had primarily polemical, oppositional, and hence contextual meaning: Futurism, Dadaism, Constructivism/Productivism, and Surrealism in particular. 16 In the period after the Second World War, this critical exclusion was extended to embrace the transmedia avant-garde of Black Mountain College in the 1940s and 1950s, which combined John Dewey’s educational philosophy with Duchampian artistic practices; as it did Pop art, minimalism, Happenings, Fluxus, and the

in Art and knowledge after 1900
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Corpse or chrysalis
Elza Adamowicz

exhibition shortly before it opened, broke with Dada, rejecting it as ‘une entreprise bourgeoise’, in Seiwert’s words (Ernst 1970: 38). They then formed the ADAMOWICZ 9781526131140 PRINT (4 col).indd 142 31/01/2019 16:06 death and rebirth : corpse or chrysalis 143 Gruppe Stupid, positioned as a politically radical, revolutionary movement whose aesthetic was linked to Constructivism, stylistically more accessible to a broader public than Dada, and more directly politically engaged than Ernst and Baargeld. This chapter will analyse Max Ernst’s 1920–21 photomontages

in Dada bodies
Allison Leigh

further factors might lead us to reconsider Russian art’s position within this overarching category. Of the art that is most often included in survey textbooks and written about in dissertations and books, five major types of “Russian” art can be discerned: prehistoric “Venus” figurines, Byzantine icons, the realism of the nineteenth-century Itinerant [ Peredvizhniki ] artists, the twentieth-century Russian avant-garde (which includes Suprematism and Constructivism), and Moscow Conceptualism. 58 Of these, only the latter three are

in Russian Orientalism in a global context
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The worker photography movement and the New Vision in America
Barnaby Haran

-Nagy replaced Johannes Itten as professor of painting in 1923, the Bauhaus marked a shift from Expressionism to Constructivism. Before joining the Bauhaus, Moholy-Nagy was an editor of MA, the Hungarian avant-garde magazine, and contributed widely to the culture of International Constructivism, maintaining communications with Lissitzky. He was therefore part of the postwar movement that opposed nationalism and economic inequality, insisting instead upon the collapse of boundaries between arts, removal of hierarchies, and the exploration of new forms and techniques. Moholy

in Watching the red dawn
Tijana Vujošević

constructivism: “The model of L. Popova is unsuccessful not because of its constructivism, but because of its machinism,” he writes.44 Class unconsciousness 55 Almost confused with production, taking machines, mechanics, instead of the constructive model, they took the machinic model, which has no connection with real action. Here we do not have accident, but something much worse – a premeditated attempt to murder theatre. This premeditation is testified to by the prozodezhda, which does not have even a small relation to the theatre in its make and colour.45 What the

in Modernism and the making of the Soviet New Man
Tijana Vujošević

1996): 119–128. Kiaer also based her research on Soviet constructivism on his writing. See Christina Kiaer, Imagine No Possessions:The Socialist Objects of Russian Constructivism (Cambridge: MIT Press, 2008). For Kiaer, the theory of the object is of key importance to Russian avant-garde art. She focuses on the notion of property and the somewhat 94 Modernism and the making of the Soviet New Man anthropomorphic characteristics of the object, which she calls “psychological transparency.” It is worth complementing her work by extending this discussion beyond the

in Modernism and the making of the Soviet New Man
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Why sport?
Bernard Vere

pursuit, art that concerned itself with sport, sporting technologies, questions of the male body and its supposed physical decline was often aligned with groups such as the Italian futurists, where it chimed well with notions of that male body reimagined, an emphasis on muscularity and action, and a belief in the benefits of competition and records. Similarly, once sport came to be seen as a model or important component of modern society, whether in Western constructivism or Italian rationalism, for example, those thinking about sport and producing work related to it

in Sport and modernism in the visual arts in Europe, c. 1909–39
Andrew Patrizio

practice for the future. Herbert Read The work of Herbert Read is both connected to yet distinct from the longer history of ecocritical art history that we explored in Part I . His writings act as a bridge between anarchism as politics and art history. David Thistlewood reminds us that Read had a clear role in birthing modernism and avant-garde art (particularly Constructivism and Surrealism) in Britain. 27 He also has an important place in the narrative of evolutionary-political writing, particularly in the shape of anarchy and social ecology and was

in The ecological eye
Open Access (free)
Soviet things that talk
Yulia Karpova

socialist object was to become ‘an instrument and a co-worker’.17 Christina Kiaer’s impressive study of the objects of Russian Constructivism (an avant-garde stream that included productivism) indicates that the idea of the ‘comradely object’ not only opposed the commodity culture of capitalist countries, but also responded to the partial revival of market mechanisms under the New Economic Policy (NEP), introduced by Lenin in 1921 as a temporary measure to develop the economic basis for a Soviet industry ravaged by the Civil War. As Kiaer suggests, NEP policies such as

in Comradely objects