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Kazimir Malevich
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International Futurism in Arts and Literature
This publication offers for the first time an inter-disciplinary and comparative perspective on Futurism in a variety of countries and artistic media. 20 scholars discuss how the movement shaped the concept of a cultural avant-garde and how it influenced the development of modernist art and literature around the world.
Kazimir Malevich
Malevich's sudden and startling realization of a non-objective way of painting – which he termed Suprematism – stands as a seminal moment in the history of twentieth-century art. Rainer Crone and David Moos trace the artist's development from his beginnings in the Ukraine and early years in Moscow – where he was closely involved in the Futurist circle – through to the late 1920s and beyond. The authors of this book convincingly demonstrate that it is only through a close and sustained reading of Malevich's late – and still widely misunderstood – painterly oeuvre that his extraordinarily inventive stance can truly be comprehended. Crone and Moos trace the close relationship between Malevich's practice and other contemporary non-political revolutions in physics, linguistics and poetry. They present Malevich as a uniquely creative artist, embodying in his work many of the insights and discoveries that define the twentieth century and the condition of modern life.
The Fourth Dimension and Non-Euclidean Geometry in Modern Art, revised edition
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, rangi...
Futurism
"In this reference summing-up, the author reviews the different aesthetic stages of the movement, from "plastic dynamism" in the 1910s to aeropainting in the 1930s, and examines the relationship, long the object of controversy, between the movement and the Italian Fascist government."--BOOK JACKET.
The Visible Word
Drucker skillfully traces the development of this critical position, suggesting a methodology closer to the actual practices of the early avant-garde artists based on a rereading of their critical and theoretical writings. After reviewing theories of signification, the production of meaning, and materiality, she analyzes the work of four poets active in the typographic experimentation of the 1910s and 1920s: Ilia Zdanevich, Filippo Marinetti, Guillaume Apollinaire, and Tristan Tzara. Drucker explores the context for experimental typography in terms of printing, handwriting, and other practices concerned with the visual representation of language. Her book concludes with a brief look at the ways in which experimental techniques of the early avant-garde were transformed in both literary work and in applications to commercial design throughout the 1920s and early 1930s.
The Birth of Fascist Ideology
When The Birth of Fascist Ideology was first published in 1989 in France and at the beginning of 1993 in Italy, it aroused a storm of response, positive and negative, to Zeev Sternhell's controversial interpretations. In Sternhell's view, fascism was much more than an episode in the history of Italy. He argues here that it possessed a coherent ideology with deep roots in European civilization. Long before fascism became a political force, he maintains, it was a major cultural phenomenon. This important book further asserts that although fascist ideology was grounded in a revolt against the Enlightenment, it was not a reactionary movement. It represented, instead, an ideological alternative t...
Futurism
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Modern Art and the Life of a Culture
In 1970, Hans Rookmaaker published Modern Art and the Death of a Culture, a groundbreaking work that considered the role of the Christian artist in society. This volume responds to his work by bringing together a practicing artist and a theologian, who argue that modernist art is underwritten by deeply religious concerns.
