Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Constructing Modernity
Naum Gabo (1890-1977), whose eventful life took him from his native Russia to Berlin, Paris, London, and finally the United States, achieved renown as one of the most inventive and controversial figures in twentieth-century sculpture. This book is the first comprehensive account of Gabo's life, career, and artistic theory and practice. Martin Hammer and Christina Lodder explore in detail the evolution of the artist's work and his aesthetic concerns, creative processes, assimilation of such new materials as plastic, and approach to public sculpture. The authors also examine his response to the scientific and political revolutions of his age and trace the origins and development of Gabo's utopian conviction that Constructivist art was profoundly in tune with modernity, social progress, and advances in science and technology. Drawing on Gabo's extensive and largely unpublished archives of letters, diaries, notebooks, models, and sketchbooks, Hammer and Lodder discuss the sculptor's work in the context of his relations with other avant-garde artists, architects, and critics, including his brother Antoine Pevsner. They also situate his aesthetic theory and practice within the Constructi
Constructive Strands in Russian Art, 1914-1937
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 Mo...
Utopian Reality
This collection of essays deals broadly with the visual and cultural manifestation of utopian aspirations in Russia of the 1920s and 1930s, while examining the before- and after-life of such ideas both geographically and chronologically. The studies document the pluralism of Russian and Soviet culture at this time as well as illuminating various cultural strategies adopted by officialdom. The result serves to complicate the excessively simplistic narrative that avant-garde dreams were suddenly and brutally crushed by Soviet repression and to contest the notion of the avant-garde’s complicity in Stalinism. Naturally, some essays document episodes in the defeat and dismantling of utopian projects, but others trace the persistence of avant-garde ideas and the astonishing tenacity of creative individuals who managed to retain their personal integrity while continuing to serve the cause of Soviet power. Contributors include: John E. Bowlt, Natalia Budanova, David Crowley, Evgeny Dobrenko, Maria Kokkori, Christina Lodder, Muireann Maguire, Nicholas Bueno de Mesquita, Maria Mileeva, John Milner, Nicoletta Misler, Maria Starkova-Vindman, Brandon Taylor, and Maria Tsantsanoglou.
The Poetics of the Avant-garde in Literature, Arts, and Philosophy
The Poetics of the Avant-garde in Literature, Arts, and Philosophy presents a range of chapters written by a highly international group of scholars from disciplines such as literary studies, arts, theatre, and philosophy to analyze the ambitions of avant-garde artists. Together, these essays highlight the interdisciplinary scope of the historic avant-garde and the interconnectedness of its artists. Contributors analyze topics such as abstraction and estrangement across the arts, the imaginary dialogue between Lev Yakubinsky and Mikhail Bakhtin, the problem of the “masculine ethos” in the Russian avant-garde, the transformation of barefoot dancing, Kazimir Malevich’s avant-garde poetic experimentations, the ecological imagination of the Polish avant-garde, science-fiction in the Russian avant-garde cinema, and the almost forgotten history of the avant-garde children’s literature in Germany. The chapters in this collection open a new critical discourse about the avant-garde movement in Europe and reshape contemporary understandings of it.
The Documented Image
None
Constructivism
"Aleksei Gan's "Constructivism" was the first theoretical treatise of post-revolutionary Russia's emergent Constructivist movement. Published in 1922, this iconoclastic blast of revolutionary zeal was a declaration of war on traditional Bourgeois art. By defining its three core principles: tectonics, faktura & construction, Gan recasts artist and architect as Constructors, no longer fretting about aesthetic or speculative problems in art but focusing instead on the fusion of art with everyday life to create a system of design where "everything will be conceived in a technical and functional way" - a fitting contribution to the great task of building the new communist society ... Gan, the "Mass Constructor", was a key figure among Russia's post-revolutionary avant-garde, working across theatre, architecture, graphics and cinema. Agitator, publisher, activist and promoter, he was a close friend of Rodchenko and Stepanova and was the foremost theoretician of Moscow's Working Group of Constructivists"--Page [4] of cover.
Situating El Lissitzky
Reassessing the complex career of one of the most influential yet controversial experimental artists of the early 20th century, this volume of essays looks at the prolific painter, designer, architect and photographer, El Lissitzky (1890-1941).
Imagine No Possessions
These artists, heeding the call of Constructivist manifestos to abandon the nonobjective painting and sculpture of the early Russian avant-garde and enter into Soviet industrial production, aimed to work as "artist-engineers" to produce useful objects for everyday life in the new socialist collective." "Kiaer shows how these artists elaborated on the theory of the socialist object-as-comrade in the practice of their art. They broke with the traditional model of the autonomous avant-garde, Kiaer argues, in order to participate more fully in the political project of the Soviet state. She analyzes Constructivism's attempt to develop modernist forms to forge a new comradely relationship between human subjects and the mass-produced objects of modernity."--BOOK JACKET.
Static Films and Moving Pictures
Doctoral Thesis / Dissertation from the year 2008 in the subject Art - Photography and Film, grade: cum laude, University of Edinburgh, language: English, abstract: Photomontage has more to do with film than with any other art form - they have in common the technique of montage. (Sergei Tretyakov) By considering that photomontage and film use the technique of cutting and gluing as dominant artistic device, and that montage, a technique unifying art and technology for the first time, emerged as a dominant artistic feature of the avant-garde, this thesis will explore the ideological and perceptual implications of its advent in avant-garde art and film. The technological advances of the beginni...
Georgii Krutikov
Georgii Krutikov epitomises the utopian visions and aspirations of the Russian Avant-garde. In 1927, while still an architectural student at the Moscow Vkhutemas, he presented his vision for a flying city. It was a scheme that was intended to solve the problem of over-crowding and despoiling of the Earth s surface and resources, by placing humanity s living quarters in space. Inspired by dreams of space travel, notions of building a new world, and a revolutionary idealism which seemed to make all things possible, Krutikov developed his ideas in great detail, producing a substantial amount of data, along with numerous sketches, drawings, and plans. For decades, architectural historians of Rus...
