Alexander Rodchenko
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Legacy Regained: Niko and the Russian Avant-Garde
A LEGACY REGAINED: NIKO AND THE RUSSIAN AVANT-GARDE PALACE EDITIONS Contents 8 Foreword Evgeniia Petrova 9 Preface Job de Ruiter 10 Acknowledgements and Notes to the Reader John E. Bowlt and Mark Konecny 13 Introduction John E. Bowlt and Mark Konecny Part I. Nikolai Khardzhiev and the Russian Avant Garde Remembering Nikolai Khardzhiev 21 Nikolai Khardzhiev RudolfDuganov 24 The Future is Now! lra Vrubel-Golubkina 36 Nikolai Khardzhiev and the Suprematists Nina Suetina 43 Nikolai Khardzhiev and the Maiakovsky Museum, Moscow Gennadii Aigi 50 My Memoir of Nikolai Khardzhiev Vyacheslav Ivanov 53 Nikolai Khardzhiev and My Family Zoya Ender-Masetti 57 My Meetings with Nikolai Khardzhiev Galina Demosfenova 59 Nikolai Khardzhiev, Knight of the Avant-garde Jean-C1aude Marcade 63 A Sole Encounter Szymon Bojko 65 The Guardian of the Temple Andrei Nakov 69 A Prophet in the Wilderness John E. Bowlt 71 The Great Commentator, or Notes About the Mole of History Vasilii Rakitin Writings by Nikolai Khardzhiev Essays 75 Autobiography 76 Poetry and Painting:The Early Maiakovsky 81 Cubo-Futurism 83 Maiakovsky as Partisan 92 Painting and Poetry Profiles ofArtists and Writers 99 Elena Guro 101 Boris Ender 103 In Memory of Natalia Goncharova and Mikhail Larionov 109 Vladimir Maiakovsky 122 Velimir Khlebnikov 131 Alexei Kruchenykh 135 VladimirTatlin 137 Alexander Rodchenko 139 EI Lissitzky Contents Texts Edited and Annotated by Nikolai Khardzhiev 147 Nikolai Khardzhiev Introductions to Kazimir Malevich's Autobiography (Parts 1 and 2) 157 Kazimir Malevieh Autobiography 172 Nikolai Khardzhiev Introduction to Mikhail Matiushin's The Russian Cubo-Futurists 173 Mikhail Matiushin The Russian Cubo-Futurists 183 Alexei Morgunov A Memoir 186 Nikolai Khardzhiev Introduction to Khlebnikov Is Everywhere! 187 Khlebnikov is Everywhere! Memoirs by Oavid Burliuk, Nadezhda Udaltsova, Amfian Reshetov, and on Osip Mandelshtam 190 Nikolai Khardzhiev Introduction to Lev Zhegin's Remembering Vasilii Chekrygin 192 Lev Zhegin Remembering Vasilii Chekrygin Part 11. -
Politics and History of 20Th Century Europe Shifted Radically, Swinging Like a Pendulum in a Dramatic Cause and Effect Relationship
Politics and history of 20th Century Europe shifted radically, swinging like a pendulum in a dramatic cause and effect relationship. I explored the correlation between art movements and revolutions, focusing specifically on Russian Constructivism and the Russian Revolution in the 1920s, as well as the Punk movement in East Germany that instigated the Fall of the Berlin Wall. I am fascinated by the structural similarities of these movements, and their shared desire of egalitarianism, which progressed with the support of opposing political ideologies. I chose fashion design because it was at the forefront of both Constructivism and Punk, and because it is what I hope to pursue as a career. After designing a full collection in 2D, I wanted to challenge myself by bringing one of my garments to life. The top is a plaster cast cut in half and shaped with epoxy and a lace up mechanism so that it can be worn. A paste made of plaster and paper pulp serves to attach the pieces of metal and create a rough texture that produces the illusion of a concrete wall. For the skirt, I created 11 spheres of various sizes by layering and stitching together different shades of white, cream, off-white, grey, and beige colored fabrics, with barbed wire and hardware cloth, that I then stuffed with Polyfil. The piece is wearable, and meant to constrict one’s freedom of movement - just like the German Democratic Party constricted freedom of speech in East Germany. The bottom portion is meant to suffocate the body in a different approach, with huge, outlandish, forms like the ones admired by the Constructivists. -
Vintage Posters
IN OUR TIME So far 2013 has been an exciting year at Swann. In January, a sale of illustration art and illustrated books established what will be a new department for us, while our reinstated Old Master Drawings auction drew crowds and much interest for a newly discovered J.M.W. Turner watercolor. February saw our best winter Vintage Posters auction ever, setting records for images by Art Nouveau master Alphonse Mucha, and love was in the air at our Valentine’s Day auction of African-American Fine Art, where paintings by Barkley L. Hendricks and Hughie Lee-Smith, as well as a sculpture by Elizabeth Catlett, achieved top-dollar results. We wrapped up the month with Fine Photographs, featuring early Asian travel albums and avant-garde modernist images, followed by scarce Early Printed Books. American and European artists divided the top lots at our March 7 Prints & Drawings auction, and the word of the day at our Writing Instruments sale was Montblanc, Montblanc, Montblanc. Looking ahead, May is a busy month full of intriguing offerings, including graphic design and typography from the inventory of the late Irving Oaklander, noted bookseller, followed by more scintillating design, typography and graphic art in our sale of modernist posters. Our Contemporary Art sale coincides with Frieze week in New York, and the month concludes with a diverse auction of Autographs. In early June a sale of Maps & Atlases offers rare items of American interest, and mid-month American Art features paintings and drawings by artists including Milton Avery, Robert Gwathmey and John Singer Sargent. -
Read Book Kazimir Malevich
KAZIMIR MALEVICH PDF, EPUB, EBOOK Achim Borchardt-Hume | 264 pages | 21 Apr 2015 | TATE PUBLISHING | 9781849761468 | English | London, United Kingdom Kazimir Malevich PDF Book From the beginning of the s, modern art was falling out of favor with the new government of Joseph Stalin. Red Cavalry Riding. Articles from Britannica Encyclopedias for elementary and high school students. The movement did have a handful of supporters amongst the Russian avant garde but it was dwarfed by its sibling constructivism whose manifesto harmonized better with the ideological sentiments of the revolutionary communist government during the early days of Soviet Union. What's more, as the writers and abstract pundits were occupied with what constituted writing, Malevich came to be interested by the quest for workmanship's barest basics. Black Square. Woman Torso. The painting's quality has degraded considerably since it was drawn. Guggenheim —an early and passionate collector of the Russian avant-garde—was inspired by the same aesthetic ideals and spiritual quest that exemplified Malevich's art. Hidden categories: Articles with short description Short description matches Wikidata Use dmy dates from May All articles with unsourced statements Articles with unsourced statements from June Lyubov Popova - You might like Left Right. Harvard doctoral candidate Julia Bekman Chadaga writes: "In his later writings, Malevich defined the 'additional element' as the quality of any new visual environment bringing about a change in perception Retrieved 6 July A white cube decorated with a black square was placed on his tomb. It was one of the most radical improvements in dynamic workmanship. Landscape with a White House. -
Vkhutemas Training Anna Bokov Vkhutemas Training Pavilion of the Russian Federation at the 14Th International Architecture Exhibition La Biennale Di Venezia
Pavilion of the Russian Federation at the 14th International Architecture Exhibition la Biennale di Venezia VKhUTEMAS Training Anna Bokov VKhUTEMAS Training Pavilion of the Russian Federation at the 14th International Architecture Exhibition la Biennale di Venezia Curated by Strelka Institute for Media, Architecture and Design Anton Kalgaev Brendan McGetrick Daria Paramonova Comissioner Semyon Mikhailovsky Text and Design Anna Bokov With Special Thanks to Sofia & Andrey Bokov Katerina Clark Jean-Louis Cohen Kurt W. Forster Kenneth Frampton Harvard Graduate School of Design Selim O. Khan-Magomedov Moscow Architectural Institute MARCHI Diploma Studios Moscow Schusev Museum of Architecture Eeva-Liisa Pelknonen Alexander G. Rappaport Strelka Institute for Media, Architecture and Design Larisa I. Veen Yury P. Volchok Yale School of Architecture VKhUTEMAS Training VKhUTEMAS, an acronym for Vysshie Khudozhestvenno Tekhnicheskie Masterskie, translated as Higher Artistic and Technical Studios, was conceived explicitly as “a specialized educational institution for ad- vanced artistic and technical training, created to produce highly quali- fied artist-practitioners for modern industry, as well as instructors and directors of professional and technical education” (Vladimir Lenin, 1920). VKhUTEMAS was a synthetic interdisciplinary school consisting of both art and industrial facilities. The school was comprised of eight art and production departments - Architecture, Painting, Sculpture, Graphics, Textiles, Ceramics, Wood-, and Metalworking. The exchange -
Études Photographiques, 23 | Mai 2009 When a Photograph of Trees Is Almost Like a Crime 2
Études photographiques 23 | mai 2009 Politique des images / Illustration photographique When a Photograph of Trees Is Almost like a Crime Rodchenko, Vertov, Kalatozov Bernd Stiegler Translator: James Gussen Electronic version URL: http://journals.openedition.org/etudesphotographiques/3422 ISSN: 1777-5302 Publisher Société française de photographie Printed version Date of publication: 1 May 2009 ISBN: 9782911961236 ISSN: 1270-9050 Electronic reference Bernd Stiegler, « When a Photograph of Trees Is Almost like a Crime », Études photographiques [Online], 23 | mai 2009, Online since 12 February 2014, connection on 30 April 2019. URL : http:// journals.openedition.org/etudesphotographiques/3422 This text was automatically generated on 30 April 2019. Propriété intellectuelle When a Photograph of Trees Is Almost like a Crime 1 When a Photograph of Trees Is Almost like a Crime Rodchenko, Vertov, Kalatozov Bernd Stiegler Translation : James Gussen ‘Think before taking the photograph, while taking the photograph, and after taking the photograph!’1 1 In 1927, the Russian artist and photographer Alexander Rodchenko spent several days at Vladiir Mayakovsky’s dacha,2 taking, what were for him, rare trips into the countryside, and then noted in his journal: ‘In Pushkino, at the dacha, I walk around and look at nature: there’s a bush, there’s a tree, here’s a ravine, stinging nettle ... Everything’s accidental and unorganized, there’s nothing to photograph, it’s not interesting. Now the pines aren’t too bad, long, bare, almost telegraph poles.’3 2 To the city dweller Rodchenko, nature seemed to be a disorganized chaos with no artistic appeal, an informal and unstructured accumulation of thicket and undergrowth. -
AVANT-GARDES: Selections from the Merrill C
F O R I M M E D I A T E R E L E A S E AVANT-GARDES: Selections from the Merrill C. Berman Collection February 5 – April 24, 2004 Constructivism, Dada, De Stijl, Futurism, Neue Sachlichkeit, Surrealism J. S. Anderson, Johannes Baader, Willi Baumeister, Christ Beekman, Pasqualinio Cangiullo, Carlo Carrà, Jean Crotti, Felix DeBoeck, Walter Dexel, Cesar Domela, Vassily Ermilov, Alexandra Exter, George Grosz, Raoul Hausmann, Hannah Höch, Karl Holtz, Vilmos Huszar, Paul Joostens, Gustav Klutsis, El Lissitzky, Lou Loeber, Jeanne Mammen, Robert Michel, Alastair Morton, Oskar Nerlinger, Josef Peeters, Liubov Popova, Thijs Rinsema, Aleksandr Rodchenko, Karl Peter Röhl, Rudolf Schlichter, Paul Schuitema, Victor Servranckx, Nikolai Sidelnikov, Maria Siniakova, Jindrich Styrsky, Karel Teige, Solomon Telingater, Jan Tschichold, L. H. Tutundjian, Konstantin Vialov, Ilia Zdanevitch, Piet Zwart Ubu Gallery is pleased to present AVANT-GARDES: Selections from the Merrill C. Berman Collection, featuring more than 65 works by over 40 artists associated with most of the major European avant-garde movements which flourished between the two World Wars. Selected from his superb collection by Merrill Berman himself, this exhibition presents a richly diverse group of artists and styles linked by their “forward- looking” posture and visual “punch.” The works to be exhibited at Ubu – as with Berman’s entire collection – represent a “personalized” cut through 20th Century visual culture “authored” by a collector with an extremely keen and knowledgeable eye. Rather than acquiring only important names (although the collection has more than its share of these, as well), Berman has considered the “aesthetic” aspect of each work and its historical context in deciding whether to add it to his collection. -
Factography Evolution from the Avant-Garde to the Absurd and Camp Prose Igor Chubarov Tyumen State University, Russia
ISPS Convention 2017 Convention 2017 “Modernization and Multiple Modernities” Volume 2018 Conference Paper Evidence and Violence: Factography Evolution from the Avant-garde to the Absurd and Camp Prose Igor Chubarov Tyumen State University, Russia Abstract This article focuses on the Russian literary avant-garde and its development in prison camp prose and documentary writing. These texts reflected an anthropological experience and response to oppression and violence in human society. In this context, it is possible to see how literature and art in general are able to change ourselves and our reality, rather than just to entertain, console and bring subjective satisfaction. Corresponding Author: The experience of alienated labor, interpreted as the experience of violence, was Igor Chubarov [email protected] expressed by avant-gardists in exaggerated imagery in their works. Therefore, I Received: 26 April 2018 propose to study the avant-garde in the context of the extreme experience of Accepted: 25 May 2018 violence, in which the political and the poetic are sometimes entwined. Published: 7 June 2018 Publishing services provided by Keywords: avant-garde, camp prose, media-aesthetic, Soviet literature, violence Knowledge E Igor Chubarov. This article is distributed under the terms of Artistic depiction of events is the author’s trial of the world around him. the Creative Commons Attribution License, which The author is omnipotent – the dead rise from their graves and live. permits unrestricted use and redistribution provided that the Varlam Shalamov original author and source are credited. Selection and Peer-review 1. under the responsibility of the ISPS Convention 2017 I infer the idea of Russian avant-garde based on the failure of the October Socialist Conference Committee. -
Cjvof'u.C Tevct~Oy~Ts- ,"Y,'R, ~\\ '6 I
• CjVOf'u.c tevct~oy~ts- ,"y,'r, ~\\ '6 i Check List of THE GRAPHIC REVOLUTION: 1915-1935 3 Wall labels Title of show in wooden letters MoMAExh_1182_MasterChecklist , ..Lab e L' No. 1. EL LISSITZKY Russian, 1890-1941 Poster for a Russian exhibition in Zurich, 1929. 2. 2 LASZLO MOHOLY-NAGY Hungarian, 1895-1946 The Eyernal Feminine, photomontage c. 1925 Given anonymously 3. 3 LASZLO MOHOLY-NAGY Hungarian, 1895-1946 MoMAExh_1182_MasterChecklist Love Thy Neighbour, photomontage 1925 Given anonymously 4. 4 LASZLO MOHOLY-NAGY Hungarian, 1895-1946 Militarism, photomontage 1924 Given anonymously 5. 5 LASZLO MOHOLY-NAGY Hungarian, 1895-1946 Dream of School Girls, photomontage 1924 Given anonymously 6. 6 LASZLO MOHOLY-NAGY Hungarian, 1895-1946 Structure of the World, photomontage 1926 Given anonymously 7. 7 LASZLO MOHOLY-NAGY Hungarian, 1895-1946 Chute, photomontage, 1923 Gift of Mrs. Sibyl Moholy-Nagy 8. 8 LASZLO MOHOLY-NAGY Hungarian, 1895-1946 Double-page spread from his book "Painting, Photography, Film," number 8 of the Bauhaus Books. Munich, 1925. 9. 9 LASZLO MOHOLY-NAGY Hungarian, 1895-1946 Front cover for a brochure advertising the fourteen Bauhaus Books. Munich, 1928 Label NC!>. 10. 10 HERBERT DIIYEI( Austrian, born 1900 Invitation to the Beard, Nose, and Heart Festival at the Bauhaus. Dessau, 1928 11. 11 ALBRECHT HEUBNER German, dates unknown Four studies in thematic and optic contrasts. Dessau, c. 1928. These are exercises for Joost Schmidt's Typography and Layout Class of the Bauhaus, in which the artist was a pupil. 12. 12 ALBRECHT HEUBNER German, dates unknown "Attention." photomontage, made at the Bauhaus. MoMAExh_1182_MasterChecklist Dessau, c. -
CHICAGO ART DECO SOCIETY Tviagazine
SPRING I SUMMER 2019 CHICAGO ART DECO SOCIETY tviAGAZINE IN TI-llS ISSUE: Who l:lse Can Swing from the Siegfried Line to the New l-lipline? Lee Miller's WWII Articles for Vogue Architecture Though the Lens: A New Way of Picturing the 1930s The Influence of Photography on l=ernand Leger as Painter and l=ilmmaker A New Life for a Cincinnati Art Deco: Photo l:ssay Jan Tschichold and the New Typography: Graphic Design Between the World Wars LARA ALLISON New Typography, in 1928. Tschichold's handdrawn illustrations, and activation of training in the traditional graphic arts of white space-played themselves out most calligraphy made him well-equipped to gauge fully. As an essential feature of the modern Image (above): Kurt Schwitters. 6 Punkte the radical aspects of what Laszlo Moholy condition within a capitalist society, advertising bildendie Vorzuge der Stopfbuchslosen, Nagy dubbed "the New Typography" in 1923. offered the context best matched to the Rheinhiitte Saurepumpen, Weise Sohne, goals of the New Typography. In the words of Halle/S (Six points create advantages for ... Although it was a young Tschichold's visit to German graphic designer Johannes Molzahn, acid pumps, Weise Sons, Halle/Saale) brochure, the 1923 Bauhaus exhibition that inspired (or, "Increasingly, production and sales must... ca. 1927. Letterpress. 7he Museum ifModern in his words, "agitated") him to explore the demand the creation of advertising according Art, New York,]an Tschichold Collection, Gift depth and breadth of new currents in graphic ifPhil ip johnson, 925.1999. Digital Image to the principles that apply to the entire © 1he Museum ifModern Art/Licensed by design, the Bauhaus itself plays a limited role operating process: to achieve the maximum SCALA I Art Resource, m © 2018 Artist in the Bard exhibition. -
List of Objects Proposed for Protection Under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (Protection of Cultural Objects on Loan)
List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Revolution: Russian Art 1917 - 1932 7 February 2017 to 17 April 2017 Artist: Yury Pimenov Title: Football Date: 1926 Medium: Oil on canvas Dimensions: Unframed: 134.5 x 89.5 cm Framed: 184 x 150 x 7 cm Inv.No: BX-280/2 Lent by: ASTRAKHAN, THE ASTRAKHAN STATE ART GALLERY C/O ROSIZO The Astrakhan State Art Gallery Astrakhan, The P.m. Dogadin Astrakhan State Art Gallery (rosizo) The P.M. Dogadin Astrakhan State Art Gallery ul. Sverdlova, 81 Astrakhan, Astrakhan Oblast, 414004 Russia Provenance: The work was donated to the Astrakhan State Art Gallery by the State Tretyakov Gallery in 1929. The work was donated to the Tretyakov Gallery from All-Union Society for Cultural Relations with Foreign Countries on the basis of an act dated 23.02.1929 *Note that this object has a complete provenance for the years 1933-1945 List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Revolution: Russian Art 1917 - 1932 7 February 2017 to 17 April 2017 Artist: Ekaterina Zernova Title: Tomato Paste Factory Date: 1929 Medium: Oil on canvas Dimensions: Unframed: 141 x 110 cm Framed: 150 x 120 x 7 cm Inv.No: BX-280/1 Lent by: ASTRAKHAN, THE ASTRAKHAN STATE ART GALLERY C/O ROSIZO The Astrakhan State Art Gallery Astrakhan, The P.m. Dogadin Astrakhan State Art Gallery (rosizo) The P.M. -
Konstantin Vialov and the Search for a Modern Realism” by Alla Rosenfeld, Ph
Aleksandr Deineka, Portrait of the artist K.A. Vialov, 1942. Oil on canvas. National Museum “Kyiv Art Gallery,” Kyiv, Ukraine Published by the Merrill C. Berman Collection Concept and essay by Alla Rosenfeld, Ph. D. Edited by Brian Droitcour Design and production by Jolie Simpson Photography by Joelle Jensen and Jolie Simpson Research Assistant: Elena Emelyanova, Research Curator, Rare Books Department, Russian State Library, Moscow Printed and bound by www.blurb.com Plates © 2018 the Merrill C. Berman Collection Images courtesy of the Merrill C. Berman Collection unless otherwise noted. © 2018 The Merrill C. Berman Collection, Rye, New York Cover image: Poster for Dziga Vertov’s Film Shestaia chast’ mira (A Sixth Part of the World), 1926. Lithograph, 42 1/2 x 28 1/4” (107.9 x 71.7 cm) Plate XVII Note on transliteration: For this catalogue we have generally adopted the system of transliteration employed by the Library of Congress. However, for the names of artists, we have combined two methods. For their names according to the Library of Congress system even when more conventional English versions exist: e.g. , Aleksandr Rodchenko, not Alexander Rodchenko; Aleksandr Deineka, not Alexander Deineka; Vasilii Kandinsky, not Wassily Kandinsky. Surnames with an “-ii” ending are rendered with an ending of “-y.” But in the case of artists who emigrated to the West, we have used the spelling that the artist adopted or that has gained common usage. Soft signs are not used in artists’ names but are retained elsewhere. TABLE OF CONTENTS 7 - ‘A Glimpse of Tomorrow’: Konstantin Vialov and the Search for a Modern Realism” by Alla Rosenfeld, Ph.