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2019 (Hardcover)
Gunter Berghaus, Oleh S. Ilnytzkyj, Gabriella Elina Imposti, Christina Lodder
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R5,340
Discovery Miles 53 400
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Ships in 10 - 15 working days
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The ninth volume of the International Yearbook of Futurism Studies
is dedicated to Russian Futurism and gathers ten studies that
investigate the impact of F.T. Marinetti's visit to Russia in 1914;
the neglected region of the Russian Far East; the artist and
writers Velimir Khlebnikov, Vasily Kamensky, Maria Siniakova and
Vladimir Mayakovsky; the artistic media of advertising, graphic
arts, cinema and artists' books.
The Soviet Union has left a vast heritage in interior design that
is largely unknown in the West. Other than architecture and graphic
or product design, interior design from the Soviet era has not yet
been thoroughly investigated. For the first time ever, this book
offers a comprehensive survey of the country's interior design
culture between revolutionary avant-garde and late Soviet
modernism. Drawing on archives that were inaccessible until
recently and featuring a wealth of previously unpublished material,
it documents the achievements of seven decades in the former
socialist empire. Soviet design is often discredited as massive,
non-ergonomic and monotonous. Yet a remarkable variety of original
styles have emerged behind the iron curtain. The 1920s were marked
by bold exploration and experiments at Vkhutemas and by
constructivism, rationalism, and suprematism. Early in Stalin's
reign constructivism was heavily criticised and post-constructivism
and Soviet neo-classicism appeared alongside what became known as
'agitational furniture', inspired by the regime's propaganda. The
1930s brought Soviet Art Deco and eventually Stalinist Empire,
which has produced some of the Soviet Union's most iconic
buildings. In the late 1950s, after Stalin's death, the last Soviet
'big style' originated modernist and functionalist furniture,
mass-produced to fit the small apartments in the Khrushchyovka
multi-unit housing developments that were built in cities on a
large scale. The 1960s mark the Golden Age of Soviet interior
design, showing again influences by the early Soviet Avant-Garde
and the Bauhaus, while most of the visionary work of a new
generation of designers in the 1970s and 1980s remained unrealised.
Published in 1922 in Russian, Aleksei Gan's "Constructivism "was
the first theoretical treatise of postrevolutionary Russia's
emergent Constructivist movement. Fired with revolutionary zeal, it
was unquestionably a declaration of war on traditional bourgeois
art.
"Constructivism" recasts artists and architects as Constructors,
turning away from aesthetic or speculative problems in art and
instead focusing on the fusion of art with everyday life in order
to create a functional system of design, one in keeping with the
great task of building the new communist society. This edition
replicates Gan's original layout, which was one of the first
experiments in Constructivist typography and graphic design, and it
also presents a substantial introductory essay by art historian
Christina Lodder that examines Gan's own odd, mercurial character
and the tracks he left across avant-garde Russian graphics,
architecture, film, and theater.
Nearly a century later, "Constructivism" remains a powerful
manifesto, and this new translation will help scholars trace its
enduring influence on twentieth-century art and design.
In 1927, while a student of architecture at the Moscow Vhutemas,
Georgii Krutikov presented a vision for a flying city. More than
just a flight of architectural fancy, Krutikov's flying city was a
utopian dream, a plan to solve the seemingly intractable problems
of overcrowding and resource depletion by moving humanity's living
quarters to space. Inspired in equal parts by sci-fi dreams of
space travel and the revolutionary idealism that still percolated
in the Soviet Union at that time, Krutikov created an incredible
amount of detailed information about his city: sketches, drawings,
plans, and more. Krutikov's flying city has been cited as a major
influence on Russian modernism for decades, yet little has been
written about the design, its creator, or his subsequent
architectural career. This beautifully illustrated book fills that
gap, presenting a detailed study of Krutikov's scheme and its
underlying ethos, then tracing Krutikov's later work as an
architect. It will interest-and amaze-all fans of the avant-garde,
architecture, and Russian history.
Published in 1922 in Russian, Aleksei Gan's Constructivism was the
first theoretical treatise of postrevolutionary Russia's emergent
Constructivist movement. Fired with revolutionary zeal, it was
unquestionably a declaration of war on traditional bourgeois art.
Constructivism recasts artists and architects as Constructors,
turning away from aesthetic or speculative problems in art and
instead focusing on the fusion of art with everyday life in order
to create a functional system of design, one in keeping with the
great task of building the new communist society. This edition
replicates Gan's original layout, which was one of the first
experiments in Constructivist typography and graphic design, and it
also presents a substantial introductory essay by art historian
Christina Lodder that examines Gan's own odd, mercurial character
and the tracks he left across avant-garde Russian graphics,
architecture, film, and theater. Nearly a century later,
Constructivism remains a powerful manifesto, and this new
translation will help scholars trace its enduring influence on
twentieth-century art and design.
"Rethinking Malevich" is an English-language collection of sixteen
innovative essays by leading international scholars that document
new and intriguing aspects of Kazimir Malevich's art and biography.
This latest research on the Russian modern artist appears after
more than seventy years of political and cultural difficulties -
including the East-West bifurcation of his artistic and written
legacy - that impeded the study and understanding of his work. For
the first time, the greater portion of Malevich's work and writings
was available for the scholarly research and study undertaken here.
The result is a wealth of new details about this pioneer of
abstraction, including: explorations of his early art education;
the differences in the reception of his abstract art by Western and
Russian audiences; the appearance of his work in 1936 at the Museum
of Modern Art; the artist's special relationship with Ukraine. The
development of his art is considered alongside that of Vasily
Kandinsky and Giorgio De Chirico, and his philosophy is examined in
comparison with the ideas of Nikolai Fedorov and Ortega-y-Gasset.
The history of Russian and Soviet art in the 1920s and 1930s is
intricately interwoven with the revolutionary social changes taking
place throughout the country. Here are details of the political
maneuverings Malevich went through in Russia to protect his art and
his friends, and his reaction to Lenin's death in 1924 and the
subsequent growth of the "Lenin myth." Rethinking Malevich reveals
the complex early interweaving of Suprematism and Constructivism,
considers little-researched aspects of the artist's
Post-Suprematist period, and the history of Malevich's literary
legacy. Not least, it demonstrates the various ways in which
Malevich's art continues to stimulate the highly unusual work of
contemporary Russian artists.
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