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EL LISSITZKY’S “PROUNS”, PART I. THE EARLIEST SURVIVING WORKS BY El Lissitzky are two watercolor sketches of the Church of the Trinity in Vitebsk and of the fortification wall surrounding the artist’s native Smolensk. These sketches, dated 1910 when Lissitzky was nearly twenty years old, are customarily interpreted as studies undertaken ...
EL LISSITZKY, THE AVANT-GARDE, AND THE RUSSIAN REVOLUTION. By Alan C. Birnholz. IN 1924 EL LISSITZKY PRODUCED a fascinating document on his status with respect to the postwar avant-garde and to the ongoing development of the Bolshevik Revolution. The Constructor (Self-Portrait), Fig. 1, attests to Lissitzky’s desire throughout the 1920s to ...
EL LISSITZKY’S “PROUNS”, PART II. III. LISSITZKY’S WORK ON THE Proun paintings extended from 1919 until early 1924. In several of the earlier paintings the tie to Malevich’s Suprematist works is very strong. For example, one Proun recalls Malevich by its pure colors and the rectangular forms that simultaneously operate in two- and ...
Merz, the seminal avant-garde journal Schwitters produced in varying forms between 1923 and 1932 (in collaboration with Lissitzky, among others), is the best-known embodiment of these efforts. Equally compelling, however, are his numerous public lectures and the invariably biting responses to his critics that he termed “ Trans ,” which were published in a range of journals, Merz included ...
I refer to El Lissitzky and his project for Victory over the Sun. EL LISSITZKY. Lissitzky’s repute as an illustrator of Jewish books caused Chagall to invite him to take up a teaching post at Vitebsk. Lissitzky duly went, met Malevich, who was also teaching there, and took up the cause of the latter; Chagall was soon ousted from his post.
When we think of the innovative design of analytical exhibitions in the prewar era, we call up figures like El Lissitzky and László Moholy-Nagy; and if we consider postwar cases, the Independent Group comes to mind—from its “Parallel of Life and Art,” staged by IG colleagues Eduardo Paolozzi, Nigel Henderson, and the Smithsons at the ...
ALMOST EXACTLY MIDWAY through his new collection of essays, Formalism and Historicity, Benjamin H. D. Buchloh quotes El Lissitzky’s late-1920s description of the revolutionary “demonstration rooms” for abstract art he’d designed earlier that decade in Dresden and Hannover, Germany: Traditionally the viewer was lulled into passivity by ...
September 2017. View of “Painting in Italy 1910s–1950s: Futurism, Abstraction, Concrete Art,” 2015–16. Photo: Tom Powel Imaging. Most persons committed to modern art possess at least a passing acquaintance with such proper nouns as Umberto Boccioni, Giacomo Balla, F. T. Marinetti, and Carlo Carrà —and with Futurism itself, the ...
29 apr 2020 · Germano Celant, the towering Italian critic, curator, and art historian whose wide-ranging writing, exhibition-making, and scholarship altered the trajectory of contemporary art and made him a leading voice in the field, has died in Milan at eighty years old due to complications from Covid-19. The author of hundreds of books, essays, and ...
Such gestures recall the dizzying axonometry of El Lissitzky’s publications, but if Lissitzky revealed the inescapably ideological nature of form while disrupting traditional readerly and perspectival orientation (as Yve-Alain Bois has shown) with distinctly revolutionary aims, Yokoo’s psychedelic rotations take on a different valence.
