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Author: Galerie Bargera
Publisher:
ISBN:
Category : Art, Abstract
Languages : un
Pages : 178
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Author: Galerie Bargera
Publisher:
ISBN:
Category : Art, Abstract
Languages : un
Pages : 178
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Book Description
Author: OliverA.I. Botar
Publisher: Routledge
ISBN: 1351573721
Category : Art
Languages : en
Pages : 318
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Book Description
Examining the complex intersections between art and scientific approaches to the natural world, Biocentrism and Modernism reveals another side to the development of Modernism. While many historians have framed this movement as being mechanistic and "against" nature, the essays in this collection illuminate the role that nature-centric ideologies played in late-nineteenth to mid-twentieth-century Modernism. The essays in Biocentrism and Modernism contend that it is no accident that Modernism arose at the same time as the field of modern biology. From nineteenth-century discoveries, to the emergence of the current environmentalist movement during the 1960s, artists, architects, and urban planners have responded to currents in the scientific world. Sections of the volume treat both philosophic worldviews and their applications in theory, historiography, and urban design. This collection also features specific case studies of individual artists, including Raymond Duchamp-Villon, Paul Klee, Wassily Kandinsky, and Jackson Pollock.
Author: Maria Gough
Publisher: Univ of California Press
ISBN: 0520226186
Category : Art
Languages : en
Pages : 272
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Book Description
"The Artist as Producer confronts the problem of making a politics with art. Gough's balanced rigor in mining obscure archives on the one hand, while performing brilliant readings of recalcitrant artworks on the other gives her account of Constructivism's utopian promise and less-than-utopian outcome great texture. She has produced something very rare: an art-historical study that not only adds to our knowledge but captures the intense poignancy of modern art's serious ambition to undertake a revolution of—and with—form."—David Joselit, Professor, History of Art, Yale University "To see a sculptor plunging into the politics and the cultural politics of the factory floor is a rare sight indeed in art history. It takes immense historical discipline to do it justice. Maria Gough takes the 'author as producer' question dear to Marxist aesthetics (think of Walter Benjamin, but think also of Trotsky, of Gramsci) and raises it into new relevance. The question always was and is a motor. This book shows us, beautifully, how and why."—Molly Nesbit, Professor of Art, Vassar College "The Artist as Producer is a remarkable and impressive piece of scholarship, which challenges existing assumptions about Soviet Constructivism and demands that we rethink the movement in its entirety."—Christina Lodder, author of Russian Constructivism
Author: Aleksandra Shatskikh
Publisher: Yale University Press
ISBN: 0300162294
Category : Art
Languages : en
Pages : 470
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Book Description
Kazimir Malevich’s painting Black Square is one of the twentieth century's emblematic paintings, the visual manifestation of a new period in world artistic culture at its inception. None of Malevich’s contemporary revolutionaries created a manifesto, an emblem, as capacious and in its own way unique as this work; it became both the quintessence of the Russian avant-gardist's own art—which he called Suprematism—and a milestone on the highway of world art. Writing about this single painting, Aleksandra Shatskikh sheds new light on Malevich, the Suprematist movement, and the Russian avant-garde. Malevich devoted his entire life to explicating Black Square's meanings. This process engendered a great legacy: the original abstract movement in painting and its theoretical grounding; philosophical treatises; architectural models; new art pedagogy; innovative approaches to theater, music, and poetry; and the creation of a new visual environment through the introduction of decorative applied designs. All of this together spoke to the tremendous potential for innovative shape and thought formation concentrated in Black Square. To this day, many circumstances and events of the origins of Suprematism have remained obscure and have sprouted arbitrary interpretations and fictions. Close study of archival materials and testimonies of contemporaries synchronous to the events described has allowed this author to establish the true genesis of Suprematism and its principal painting.
Author: Linda Dalrymple Henderson
Publisher: MIT Press
ISBN: 0262536552
Category : Art
Languages : en
Pages : 759
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Book Description
The long-awaited new edition of a groundbreaking work on the impact of alternative concepts of space on modern art. In this groundbreaking study, first published in 1983 and unavailable for over a decade, Linda Dalrymple Henderson demonstrates that two concepts of space beyond immediate perception—the curved spaces of non-Euclidean geometry and, most important, a higher, fourth dimension of space—were central to the development of modern art. The possibility of a spatial fourth dimension suggested that our world might be merely a shadow or section of a higher dimensional existence. That iconoclastic idea encouraged radical innovation by a variety of early twentieth-century artists, ranging from French Cubists, Italian Futurists, and Marcel Duchamp, to Max Weber, Kazimir Malevich, and the artists of De Stijl and Surrealism. In an extensive new Reintroduction, Henderson surveys the impact of interest in higher dimensions of space in art and culture from the 1950s to 2000. Although largely eclipsed by relativity theory beginning in the 1920s, the spatial fourth dimension experienced a resurgence during the later 1950s and 1960s. In a remarkable turn of events, it has returned as an important theme in contemporary culture in the wake of the emergence in the 1980s of both string theory in physics (with its ten- or eleven-dimensional universes) and computer graphics. Henderson demonstrates the importance of this new conception of space for figures ranging from Buckminster Fuller, Robert Smithson, and the Park Place Gallery group in the 1960s to Tony Robbin and digital architect Marcos Novak.
Author: Claudia Benthien
Publisher: Routledge
ISBN: 1351608703
Category : Social Science
Languages : en
Pages : 400
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Book Description
The beginning of the 20th century saw literary scholars from Russia positing a new definition for the nature of literature. Within the framework of Russian Formalism, the term ‘literariness’ was coined. The driving force behind this theoretical inquiry was the desire to identify literature—and art in general—as a way of revitalizing human perception, which had been numbed by the automatization of everyday life. The transformative power of ‘literariness’ is made manifest in many media artworks by renowned artists such as Chantal Akerman, Mona Hatoum, Gary Hill, Jenny Holzer, William Kentridge, Nalini Malani, Bruce Nauman, Martha Rosler, and Lawrence Weiner. The authors use literariness as a tool to analyze the aesthetics of spoken or written language within experimental film, video performance, moving image installations, and other media-based art forms. This volume uses as its foundation the Russian Formalist school of literary theory, with the goal of extending these theories to include contemporary concepts in film and media studies, such as Neoformalism, intermediality, remediation, and postdrama.
Author: Linda S. Boersma
Publisher: 010 Publishers
ISBN: 9789064501357
Category : Art
Languages : en
Pages : 102
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Geïllustreerde beschrijving met achtergrondinformatie over de tentoonstelling 0,10 gehouden in Sint Petersburg (Leningrad) in 1915 met werk van Russische avant-garde schilders
Author: Christina Lodder
Publisher: Pindar Press
ISBN:
Category : Art
Languages : en
Pages : 616
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Book Description
Professor Lodder is a leading specialist in art of the Russian avant-garde which flourished during the 1910s and 1920s. She is the author of a major study of Russian Constructivism, acclaimed as the standard work on the subject, and with her husband has written an important monograph on the Russian-born sculptor Naum Gabo and edited a collection of the artist's writings. The present volume brings together her articles of the past twenty years, many of which focus on particular aspects of avant-garde responses to the social and political upheavals of the period, especially the Russian Revolution of 1917. Her essays cover subjects such as Vladimir Tatlin's seminal structure, The Model for a Monument to the Third International of 1920, the evolution of public monuments, the cultural debates during the revolutionary period, the development of new teaching programmes, and the implementation of Constructivist ideas in photography and design for textiles, clothing and the theatre. Her interests extend to International Constructivism and to the impact that Russian ideas made on the theory and practice of avant-garde figures working in Central and Eastern Europe during the 1920s. More recently she has concentrated on developments in the 1910s, including the innovative work of Kazimir Malevich and the relationship between art and science. The author has supplied additional notes to the original articles, which draw attention to subsequent research. Since the collapse of Communism in the erstwhile Soviet Union, public collections and archives have become more accessible and the new information has substantially altered existing preconceptions of the period. Occasionally, the need to correct errors exposed by recent developments in the field has involved making some extensive changes to the main body of the text.
Author: Magdalena Dabrowski
Publisher: Museum
ISBN:
Category : Art
Languages : en
Pages : 298
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Book Description
Magdalena Dabrowski retraces the course of geometric abstract art in our century, she divides the years from 1910 to 1980- into five spans. The first: Origins of the Nonobjective - Cubism, Futurism, Cubo-Futurism. The second: Surface to space - Suprematism, de Stiji, Russian Constructivism. Then, Internation constructivism, followed by Paris-New Yourk connection and finally, Nonfigurative tendrncies.
Author: William Sherwin Simmons
Publisher: Garland Publishing
ISBN:
Category : Art
Languages : en
Pages : 344
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