Vkhutemas Centenary Press Release

Total Page：16

File Type：pdf, Size：1020Kb

VKhUTEMAS Centenary 1 July – 31 August Timed to coincide with the centenary of the founding of the school, our exhibition of rare, vintage photographs, documents the (now destroyed) sculptures and models created by students of the school. Founded in Moscow in 1920, the VKhUTEMAS (Higher Artistic and Technical Workshops) was the result of the merging of several artistic schools. Established by a decree from Vladimir Lenin, it merged art, life and technology, and was a center for three major movements in avant-garde art and architecture: constructivism, rationalism, and suprematism. Tutors at VKhUTEMAS included many ground-breaking innovators, like artist Alexander RODCHENKO and like-minded peers such as his textile designer wife Varvara STEPANOVA, painter Lyubov POPOVA, and architect Nikolai LADOVSKY. In the aftermath of the Russian Revolution, the VKhUTEMAS united the most creative contemporaries of the young Soviet Union; classical and modern art as well as architecture were taught with the aim of improving the living conditions of the masses. Ideological tensions between adherents of the so-called 'rationalist' approach and the ‘constructivist’ devotees, along with dictatorial regimes, led to the closing of the school in 1930. Although most of the projects have remained on paper, it had a tremendous impact on the Russian avant-garde and its legacy remains influential even in these days. The centenary of the school is being celebrated with a series of exhibitions and events throughout the year, such as 'VKhUTEMAS 100', at the Bauhaus Center of Tel Aviv, a major exhibition at the Museum of Moscow, and the International Scientific Conference: “VKHUTEMAS Space in World Culture of the XX– XXI Centuries”. The Global Biennale of Graphic Design (8 October - 1 November 2020) is paying tribute to the anniversary with a commemorative poster project that celebrates one of the most influential art schools of the last one hundred years. .

Copy Link

Recommended publications

Bauhaus 1 Bauhaus
Bauhaus 1 Bauhaus Staatliches Bauhaus, commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally "house of construction" stood for "School of Building". The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a The Bauhaus Dessau 'total' work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, 1921/2, Walter Gropius's Expressionist Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe Monument to the March Dead from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it.
[Show full text]
Spring 2004 Professor Caroline A. Jones Lecture Notes History, Theory and Criticism Section, Department of Architecture Week 9, Lecture 2
MIT 4.602, Modern Art and Mass Culture (HASS-D) Spring 2004 Professor Caroline A. Jones Lecture Notes History, Theory and Criticism Section, Department of Architecture Week 9, Lecture 2 PHOTOGRAPHY, PROPAGANDA, MONTAGE: Soviet Avant-Garde “We are all primitives of the 20th century” – Ivan Kliun, 1916 UNOVIS members’ aims include the “study of the system of Suprematist projection and the designing of blueprints and plans in accordance with it; ruling off the earth’s expanse into squares, giving each energy cell its place in the overall scheme; organization and accommodation on the earth’s surface of all its intrinsic elements, charting those points and lines out of which the forms of Suprematism will ascend and slip into space.” — Ilya Chashnik , 1921 I. Making “Modern Man” A. Kasimir Malevich – Suprematism 1) Suprematism begins ca. 1913, influenced by Cubo-Futurism 2) Suprematism officially launched, 1915 – manifesto and exhibition titled “0.10 The Last Futurist Exhibition” in Petrograd. B. El (Elazar) Lissitzky 1) “Proun” as utopia 2) Types, and the new modern man C. Modern Woman? 1) Sonia Terk Delaunay in Paris a) “Orphism” or “organic Cubism” 1911 b) “Simultaneous” clothing, ceramics, textiles, cars 1913-20s 2) Natalia Goncharova, “Rayonism” 3) Lyubov Popova, Varvara Stepanova stage designs II. Monuments without Beards -- Vladimir Tatlin A. Constructivism (developed in parallel with Suprematism as sculptural variant) B. Productivism (the tweaking of “l’art pour l’art” to be more socialist) C. Monument to the Third International (Tatlin’s Tower), 1921 III. Collapse of the Avant-Garde? A. 1937 Paris Exposition, 1937 Entartete Kunst, 1939 Popular Front B.
[Show full text]
El Lissitzky Letters and Photographs, 1911-1941
http://oac.cdlib.org/findaid/ark:/13030/tf6r29n84d No online items Finding aid for the El Lissitzky letters and photographs, 1911-1941 Finding aid prepared by Carl Wuellner. Finding aid for the El Lissitzky 950076 1 letters and photographs, 1911-1941 ... Descriptive Summary Title: El Lissitzky letters and photographs Date (inclusive): 1911-1941 Number: 950076 Creator/Collector: Lissitzky, El, 1890-1941 Physical Description: 1.0 linear feet(3 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: The El Lissitzky letters and photographs collection consists of 106 letters sent, most by Lissitzky to his wife, Sophie Lissitzky-Küppers, along with his personal notes on art and aesthetics, a few official and personal documents, and approximately 165 documentary photographs and printed reproductions of his art and architectural designs, and in particular, his exhibition designs. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in German Biographical/Historial Note El Lissitzky (1890-1941) began his artistic education in 1909, when he traveled to Germany to study architecture at the Technische Hochschule in Darmstadt. Lissitzky returned to Russia in 1914, continuing his studies in Moscow where he attended the Riga Polytechnical Institute. After the Revolution, Lissitzky became very active in Jewish cultural activities, creating a series of inventive illustrations for books with Jewish themes. These formed some of his earliest experiments in typography, a key area of artistic activity that would occupy him for the remainder of his life.
[Show full text]
"The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937
"The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Johnson, Samuel. 2015. "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463124 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 A dissertation presented by Samuel Johnson to The Department of History of Art and Architecture in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History of Art and Architecture Harvard University Cambridge, Massachusetts May 2015 © 2015 Samuel Johnson All rights reserved. Dissertation Advisor: Professor Maria Gough Samuel Johnson “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 Abstract Although widely respected as an abstract painter, the Russian Jewish artist and architect El Lissitzky produced more works on paper than in any other medium during his twenty year career. Both a highly competent lithographer and a pioneer in the application of modernist principles to letterpress typography, Lissitzky advocated for works of art issued in “thousands of identical originals” even before the avant-garde embraced photography and film.
[Show full text]
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
[Show full text]
The Purge of Modern Trends
PATRICIA RAILING The Purge of Modern Trends Patricia Railing has published widely on the Russian Avant-Garde. She is $IRECTOR OF !RTISTS s "OOKWORKS THAT PUBLISHES REPRINTS OF EARLY TH CENTURY artists’ books and writings, as well as studies on the Russian Avant-Garde. Her Alexandra Exter Paints appeared in October 2011 and her doctoral thesis, Kazimir Malevich – Suprematism as Pure Sensation (Université de Paris 1 – Sorbonne, Philosophy of Art) will soon appear under the title, Malevich Paints – The Seeing Eye. 7KDWWKHDUWVIURPSDLQWLQJWROLWHUDWXUHWRWKHDWUH ³RUJDQLVDWLRQV PLJKW FKDQJH WR EHLQJ DQ LQVWUXPHQW IRU WKH WR PXVLF VKRXOG EH FRQVLGHUHG VR SRZHUIXO WKDW PD[LPXPPRELOLVDWLRQRI6RYLHWZULWHUVDQGDUWLVWVIRUWKHWDVNV 34 WKH\ KDG WR EH VXEYHUWHG WR WKH DXWKRULW\ RI WKH 6WDOLQLVW RIVRFLDOLVWFRQVWUXFWLRQ´1 UHJLPHVD\VPRUHDERXWWKHHIIHFWVRIWKHDUWVRQWKHKXPDQ EHLQJWKDQZRXOGEHDGPLWWHGLQPRGHUQ:HVWHUQVRFLHWLHV 7KXVWKHDUWVFDPHXQGHUWKHIXOOFRQWURORIWKH6WDWHDQGLIQRW )RUWKHPDUWLVXVXVDOO\FRQVLGHUHGDOX[XU\DSOD\WKLQJDQ DFWXDOO\GHVWUR\HGZKLFKVRPHDUWZDVLWFRXOGDWOHDVWEHPDGH LQYHVWPHQWRUVLPSO\LUUHOHYDQW WRFRQIRUPRUWRGLVDSSHDU ,Q5XVVLDIURPWKHVDUWZDVYLWDOEHFDXVHLWVUROH :KDWHYHUFRXOGQRWEHFODVVL¿HGDV³SUROHWDULDW´DQGZKDWHYHU ZDVWRDQQRXQFHDQGFRQYLQFHWKHSRSXODUPDVVHVDERXWWKH FRXOG EH FODVVL¿HG DV ³ERXUJHRLV´ ZHUH XQGHU WKUHDW :KHWKHU QHZ SROLWLFDO UHJLPH7KH SHDVDQW DQG WKH SUROHWDULDW ZHUH )UHQFK,PSUHVVLRQLVP3RVW,PSUHVVLRQLVP)DXYLVPDQG&XELVPRU WREHSHUVXDVLYHO\SRUWUD\HGDQGWKXVDUWEHFDPHWKHWRRO 5XVVLDQ,PSUHVVLRQLVPWR6XSUHPDWLVPDQG&RQVWUXFWLYLVPDOOZHUH IRU SURSDJDQGD &RLQFLGHQWO\
[Show full text]
1 Avant-Garde Art and Bolshevik Time* Debates Among These
The images reproduced here accord with fair use. Please acknowledge credits. 1 © Susan Buck-Morss, 2006. * Avant-Garde Art and Bolshevik Time ," t po a e , T l a Debates among these "Futurists," as c . r. " apot i ori e l t ow m T s a Lenin called all of these experimental groups, i c i c z . a r. os H i ori e t t ow were waged on numerous issues, but they shared m s i a c , M i h, K t z c a os H um vi e a general tendency in their move t e e “Art of the l a , M h, K t a us c proletariat is not a M 1923. S M um away from art -- particularly away vi e e holy shrine where l a us from oil painting -- and into "life," things are lazily M 1923. S M regarded, but work, e t a factory which a the lived experience of the everyday. a t r produces new nd a r artistic things.” nd rva . They understood their work not as a a rva kovo S a um Cup a . - Nikolai Punin, 1918 e kovo us Cup documenting the revolution but as nd V . " us us um a nd V e i . “ a a i realizing it, serving (and also leading) the us n M a kova i kol a kova i l 1923. K e kol n M hni i i proletariat in the active building of a new society. s 1923. K a hni r," l s vi n, N orc e e i r,” t vi n, N P e i uc Constructivists and Suprematists and others of e t ue a orc t uc a S Ruka S P ue a t S Ruka S S the avant-garde both turned to "production art," applying their earlier formal and technical innovations to the design of everyday objects and architectural spaces that the masses would produce and use.1 Although production art was variously practiced, it provided the sense of a shared political task.2 "The proletariat * Based on material from Susan Buck-Morss, Dreamworld and Catastrophe: The Passing of Mass Utopia in East and West.
[Show full text]
Survey Course on Russian/Soviet Art and Architecture, Part II (From the Time of Peter the Great to the Present)
1 Survey Course on Russian/Soviet Art and Architecture, Part II (From the time of Peter the Great to the Present) Spring 2017 01:082:251 Prof. Alla Rosenfeld, Ph.D. MW5—2:50-4:10pm Zimmerli Art Museum’s education room Email:[email protected] 646-552-2426 cell phone Office hours MW, 4:30-5:30 pm or by appointment Prerequisites: There are no prerequisites with regard to previous courses pertaining to Russia. No knowledge of Russian is required Course requirements and evaluation (all must be fulfilled to receive course credit): Your grades will be based on your attendance, your participation in class discussion, and on the midterm exam and final exam or paper. You are expected to read all the required readings by the date assigned. Readings provide historical information not always covered in class; the texts do not duplicate lectures. Students will be expected to explore the Riabov Collection of Russian art and the Norton and Nancy Dodge Collection of Nonconformist Art from the Soviet Union; some classes may be taught in the galleries of the Zimmerli Art Museum. Midterm exam: This exam tests knowledge of facts, vocabulary and works of art as well as understanding of cultural and artistic issues. The exam covers material from lectures and readings in the period prior to exam; it includes identification of works of art (10 slides), important terms and concepts. 2 Final take-home exam or research paper: You will be required to choose between a take-home final exam (3 questions, essay format) or a final term paper (15 pages, typed and double- spaced).
[Show full text]
„Lef“ and the Left Front of the Arts
Slavistische Beiträge ∙ Band 142 (eBook - Digi20-Retro) Halina Stephan „Lef“ and the Left Front of the Arts Verlag Otto Sagner München ∙ Berlin ∙ Washington D.C. Digitalisiert im Rahmen der Kooperation mit dem DFG-Projekt „Digi20“ der Bayerischen Staatsbibliothek, München. OCR-Bearbeitung und Erstellung des eBooks durch den Verlag Otto Sagner: http://verlag.kubon-sagner.de © bei Verlag Otto Sagner. Eine Verwertung oder Weitergabe der Texte und Abbildungen, insbesondere durch Vervielfältigung, ist ohne vorherige schriftliche Genehmigung des Verlages unzulässig. «Verlag Otto Sagner» ist ein Imprint der Kubon & Sagner GmbH. Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access S la v istich e B eiträge BEGRÜNDET VON ALOIS SCHMAUS HERAUSGEGEBEN VON JOHANNES HOLTHUSEN • HEINRICH KUNSTMANN PETER REHDER JOSEF SCHRENK REDAKTION PETER REHDER Band 142 VERLAG OTTO SAGNER MÜNCHEN Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 HALINA STEPHAN LEF” AND THE LEFT FRONT OF THE ARTS״ « VERLAG OTTO SAGNER ■ MÜNCHEN 1981 Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access Bayerische Staatsbibliothek München ISBN 3-87690-186-3 Copyright by Verlag Otto Sagner, München 1981 Abteilung der Firma Kubon & Sagner, München Druck: Alexander Grossmann Fäustlestr. 1, D -8000 München 2 Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 To Axel Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 CONTENTS Introduction ................................................................................................
[Show full text]
Russian Architecture
МИНИСТЕРСТВО ОБРАЗОВАНИЯ И НАУКИ РОССИЙСКОЙ ФЕДЕРАЦИИ КАЗАНСКИЙ ГОСУДАРСТВЕННЫЙ АРХИТЕКТУРНО-СТРОИТЕЛЬНЫЙ УНИВЕРСИТЕТ Кафедра иностранных языков RUSSIAN ARCHITECTURE Методические указания для студентов направлений подготовки 270100.62 «Архитектура», 270200.62 «Реставрация и реконструкция архитектурного наследия», 270300.62 «Дизайн архитектурной среды» Казань 2015 УДК 72.04:802 ББК 81.2 Англ. К64 К64 Russian architecture=Русская архитектура: Методические указания дляРусская архитектура:Методическиеуказаниядля студентов направлений подготовки 270100.62, 270200.62, 270300.62 («Архитектура», «Реставрация и реконструкция архитектурного наследия», «Дизайн архитектурной среды») / Сост. Е.Н.Коновалова- Казань:Изд-во Казанск. гос. архитект.-строит. ун-та, 2015.-22 с. Печатается по решению Редакционно-издательского совета Казанского государственного архитектурно-строительного университета Методические указания предназначены для студентов дневного отделения Института архитектуры и дизайна. Основная цель методических указаний - развить навыки самостоятельной работы над текстом по специальности. Рецензент кандидат архитектуры, доцент кафедры Проектирования зданий КГАСУ Ф.Д. Мубаракшина УДК 72.04:802 ББК 81.2 Англ. © Казанский государственный архитектурно-строительный университет © Коновалова Е.Н., 2015 2 Read the text and make the headline to each paragraph: KIEVAN’ RUS (988–1230) The medieval state of Kievan Rus'was the predecessor of Russia, Belarus and Ukraine and their respective cultures (including architecture). The great churches of Kievan Rus', built after the adoption of christianity in 988, were the first examples of monumental architecture in the East Slavic region. The architectural style of the Kievan state, which quickly established itself, was strongly influenced by Byzantine architecture. Early Eastern Orthodox churches were mainly built from wood, with their simplest form known as a cell church. Major cathedrals often featured many small domes, which has led some art historians to infer how the pagan Slavic temples may have appeared.
[Show full text]
Following the Black Square: the Cosmic, the Nostalgic & the Transformative in Russian Avant-Garde Museology Teofila Cruz-Uri
Following The Black Square: The Cosmic, The Nostalgic & The Transformative In Russian Avant-Garde Museology Teofila Cruz-Uribe A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in International Studies: Russia, East Europe and Central Asia University of Washington 2017 Committee: Glennys Young James West José Alaniz Program Authorized to Offer Degree: Jackson School of International Studies Cruz-Uribe ©Copyright 2017 Teofila Cruz-Uribe 1 Cruz-Uribe University of Washington Abstract Following The Black Square: The Cosmic, The Nostalgic & The Transformative In Russian Avant-Garde Museology Teofila Cruz-Uribe Chair of the Supervisory Committee: Jon Bridgman Endowed Professor Glennys Young History Department & Jackson School of International Studies Contemporary Russian art and museology is experiencing a revival of interest in the pioneering museology of the Russian artistic and political avant-garde of the early 20th century. This revival is exemplified in the work of contemporary Russian conceptual artist and self-styled ‘avant-garde museologist’ Arseniy Zhilyaev (b. 1984). Influential early 20th century Russian avant-garde artist and museologist Kazimir Malevich acts as the ‘tether’ binding the museologies of the past and present together, his famous “Black Square” a recurring visual and metaphoric indicator of the inspiration that contemporary Russian avant-garde museology and art is taking from its predecessors. This thesis analyzes Zhilyaev’s artistic and museological philosophy and work and determines how and where they are informed by Bolshevik-era avant-garde museology. This thesis also asks why such inspirations and influences are being felt and harnessed at this particular juncture in post-Soviet culture.
[Show full text]
Cultural Syllabus : Russian Avant-Garde and Radical Modernism : an Introductory Reader
———————————————————— Introduction ———————————————————— THE RUSSIAN AVANT-GARDE AND RADICAL MODERNISM An Introductory Reader Edited by Dennis G. IOFFE and Frederick H. WHITE Boston 2012 — 3 — ——————————— RUSSIAN SUPREMATISM AND CONSTRUCTIVISM ——————————— 1. Kazimir Malevich: His Creative Path1 Evgenii Kovtun (1928-1996) Translated from the Russian by John E. Bowlt Te renewal of art in France dating from the rise of Impressionism extended over several decades, while in Russia this process was consoli- dated within a span of just ten to ffteen years. Malevich’s artistic devel- opment displays the same concentrated process. From the very begin- ning, his art showed distinctive, personal traits: a striking transmission of primal energy, a striving towards a preordained goal, and a veritable obsession with the art of painting. Remembering his youth, Malevich wrote to one of his students: “I worked as a draftsman... as soon as I got of work, I would run to my paints and start on a study straightaway. You grab your stuf and rush of to sketch. Tis feeling for art can attain huge, unbelievable proportions. It can make a man explode.”2 Transrational Realism From the early 1910s onwards, Malevich’s work served as an “experimen- tal polygon” in which he tested and sharpened his new found mastery of the art of painting. His quest involved various trends in art, but although Malevich firted with Cubism and Futurism, his greatest achievements at this time were made in the cycle of paintings he called “Alogism” or “Transrational Realism.” Cow and Violin, Aviator, Englishman in Moscow, Portrait of Ivan Kliun—these works manifest a new method in the spatial organization of the painting, something unknown to the French Cub- ists.
[Show full text]