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This is a fascinating and sumptuously illustrated overview of the work of El Lissitzk, one of the 20th-century's most influential and experimental artists. Eliezer (Lazar) Markovich Lissitzky, El Lissitzky (1890-1941) was one of the most experimental and controversial artists to work with the Russian and European avant-garde during the early twentieth century. Equally prolific as a painter, designer, architect and photographer, he connected countries and cultures as a leading ambassador between the Soviet and European avant-gardes of the 1920s, promoting Suprematist and Constructivist art in the West and European abstract movements in Russia. For El Lissitzky, art was conceived not as a personal expression and production of objects, but rather as a collective and social activity. Working with the Russian painter and theoretician Kazimir Malevich, he developed the new visual language of Suprematism (an abstract art based upon "the supremacy of pure artistic feeling" rather than on visual depiction of objects), which he applied not only to painting, but also to print and book works, architectural and theatre projects, ceramics, educational theory and propaganda. Fusing this array of media, his three-dimensional work "Proun Room" used the actual space of a room to merge painting, sculptural installation and architecture; similarly, with his students he adorned the trams and buildings of Vitebsk with Suprematist triangles and squares, and used his "Proun" motifs to design costumes and machinery for the stage (most famously for the 1920 Futurist opera, Victory over the Sun). This volume provides a comprehensive and superbly illustrated view of Lissitzky's influential career.
One girl, one painting a day...can she do it? Linda Patricia Cleary decided to challenge herself with a year long project starting on January 1, 2014. Choose an artist a day and create a piece in tribute to them. It was a fun, challenging, stressful and psychological experience. She learned about technique, art history, different materials and embracing failure. Here are all 365 pieces. Enjoy!
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).
El Lissitzky's About 2 Squares is a story about how two squares, one red, one black, transform a world. The commentary, More About 2 Squares, boxed in the same slipcase, provides a detailed analysis of this seminal work.
"The artist and architect El Lissitzky (1890-1941) is celebrated for his contributions to painting, architecture, photography, and graphic design, and for his role in disseminating Russian and Soviet avant-garde art in Europe during the 1920s. Though he worked in a diversity of media, Lissitzky nonetheless produced the majority of his work on paper in the form of innovative photomontages, architectural drawings, lithographs, typography, books, and photo magazines. This monograph--the first career-spanning archival study of Lissitzky since 1968--reveals that the artist's multiple pursuits arose from his deep commitment to print as the premier medium of public exchange in the young and turbulent twentieth century. Samuel Johnson demonstrates that paper and print media were preoccupations that shaped Lissitzky's worldview, values, politics, and production in ways that have never been fully appreciated. Probing Lissitzky's stance on the problems of distribution and reception, this book offers a compelling and nuanced portrait of Lissitzky as experimenter, visionary designer, technocrat, and propagandist-the very prototype of the twentieth-century artist, with a legacy that remains largely on paper"--
This illustrated version of the popular Passover song "Had gadya" (חד גידא) was the wonderfully playful offspring of the avant-garde artist El Lissitzky (1890-1941). It dates to a little-known period early in his career when he immersed himself in the Jewish cultural renaissance that flourished in Russia from roughly 1912 to the early 1920s. Signed with his Hebrew given name, this volume-with its wraparound cover, colorful lithographic montages, and stylized use of Yiddish and Aramaic words-celebrates Lissitzky's interest in Jewish folk traditions while looking forward to the dynamic graphic and typographic designs for which he is best remembered. This near-scale facsimile-including the rarely seen cover-allows readers to experience Lissitzky's Had gadya as originally envisioned. It is accompanied here by Nancy Perloff's discussion of the work's cultural and artistic contexts, Arnold J. Band's English translation of Lissitzky's Yiddish version of the song, sections on Lissitzky's iconography and vocabulary, and lyrics set to music.
OBJECT:PHOTO shifts the dialogue about modernist photography from an emphasis on the subject and the image to the actual photographic object, created by a certain artist at a particular time and present today in its unique physicality. This shift is especially significant for a study of the period during which photography developed a distinctive formal language. A growing awareness of the rarity of images made between the two world wars has altered historians' considerations, encouraging new approaches privileging the originality of each work and the density of references each contains. This richly illustrated publication culminates a four-year collaborative research endeavor between The Museum of Modern Art's Departments of Photography and Conservation, and nearly 30 visiting scholars, on the material and aesthetic evolution of avant-garde photography in the early twentieth century. The 341 modernist photographs known as The Thomas Walther Collection, a major museum acquisition made in 2001, is presented in its entirety, establishing a new standard of depth for the medium. Essays by curators, researchers, and conservators consider the history of collecting from this era to the present and how deepening knowledge has shifted the perspective on the medium; the material facts of the Walther pictures as a baseline for understanding the development of photographic materials in this era; and how the intellectual formation of the writers of critical photographic publications of the era and the societal and cultural pressures of that historical moment inflected the photography's sense of its own history. Together with thematic, object-based case studies of groups of pictures that demonstrate new approaches in specific, divergent examples, these contributions reanimate the dialogue on this formative era in photography.