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20 articles
Exhibition Review
Futurism and Europe: The Aesthetics of a New World
08/2023 | 1445 | 165
Pages: 906–908
related names
Reviewer:
Kwartler, Talia (Kwartler, Talia)
Subjects
dates:
Reviewed Items
subjects:
Futurism and Europe: The Aesthetics of a New World Kröller-Müller Museum, Otterlo 29th April–3rd September | :
Illustrations
Attributed works:
19. The new city. Detail, by Antonio Sant’Elia. 1914. Pencil and ink on paper, 52.5 by 51.5 cm. (Pinacoteca Civica, Como; exh. Kröller-Müller Museum, Otterlo).
Attributed works:
20. Unique forms of continuity in space, by Umberto Boccioni. 1913, cast in 1972. Bronze, 117 by 30.5 by 87.5 cm. (Kröller- Müller Museum, Otterlo).
Attributed works:
21. Installation view of Futurism and Europe: The Aesthetics of a New World at the Kröller- Müller Museum, Otterlo, 2023. (photograph Studio Goedewaagen Fotografie).
Exhibition Review
Engineer, Agitator, Constructor: The Artist Reinvented
03/2021 | 1416 | 163
Pages: 283-285
related names
Reviewer:
Huber, Stephanie (Huber, Stephanie)
Subjects
dates:
styles:
Reviewed Items
subjects:
Engineer, Agitator, Constructor: The Artist Reinvented Museum of Modern Art, New York 13th December 2020–10th April 2021 | :
Illustrations
Attributed works:
19. The hand has five fingers, by John Heartfield. 1928. Lithograph, 97.8 by 74.3 cm. (Merrill C. Berman Collection, Museum of Modern Art, New York).
Attributed works:
20. Advertising technique 1, design for a journal cover, by Nikolai Sedelnikov. 1930. Letterpress, 29.8 by 23 cm. (Merrill C. Berman Collection, Museum of Modern Art, New York).
Attributed works:
Opposite 18. Electrification of the entire country, by Gustav Klutsis. c.1920. Cut-andpasted gelatin silver prints, printed and painted paper on paper with gouache, ink, and pencil, 46.5 by 27.5 cm. (Merrill C. Berman Collection, Museum of Modern Art, New York).
Book Review
Gan’s Constructivism: Aesthetic Theory for an Embedded Modernism
07/2020 | 1408 | 162
Pages: 636-637
related names
Reviewer:
Kocialkowska, Kamila (Kocialkowska, Kamila)
Subjects
artists:
Reviewed Items
subjects:
Gan’s Constructivism: Aesthetic Theory for an Embedded Modernism By Kristin Romberg. 312 pp. incl. 72 col. + 38 b. & w. ills. (University of California Press, Oakland, 2018), £54. ISBN 978–0–520–29853–8. | :
Exhibition Review
Cut and Paste: 400 Years of Collage Scottish National Gallery of Modern Art (Modern Two), Edinburgh
09/2019 | 1398 | 161
Pages: 776-779
related names
Reviewer:
Thompson, Susannah (Thompson, Susannah)
Subjects
artists:
subjects:
Illustrations
Attributed works:
31. Scrapbook, by Mary Watson. 1821. Cut-up newspapers, printed illustrations and handwritten text, sheet 21 by 15 cm. (Manchester Metropolitan University; exh. Scottish National Gallery of Modern Art, Edinburgh).
Attributed works:
32. Still from Doll clothes, by Cindy Sherman. 1975. 16mm film transferred to video, 2 mins 22 secs. (Courtesy the artist and Metro Pictures, New York; exh. Scottish National Gallery of Modern Art, Edinburgh).
Attributed works:
33. Pretty girl, by Linder. 1977. Magazine with collage, 24 by 18.5 cm. (Courtesy the artist and Modern Art, London; exh. Scottish National Gallery of Modern Art, Edinburgh).
Article
Vasily Kandinsky and the Formal method
12/2018 | 1389 | 160
Pages: 1016-1023
related names
Author:
Bowlt, John E. (Bowlt, John E.)
Subjects
media:
places:
Illustrations
Attributed works:
1. Elementary life of the primary colour and its dependence on the simplest locale, by Vasily Kandinsky. Illustration to the lecture ‘On the Spiritual in Art’ delivered by Nikolai Kul’bin on Kandinsky’s behalf at the All-Russian Congress of Artists, St Petersburg, 29th and 31st December 1911. Published in Russian in I. Repin et al.: Trudy Vserossiiskogo s’ezda khudozhnikov (Transactions of the All-Russian Congress of artists), Petrograd 1914, I, pp.76–77.
Attributed works:
2. Improvisation 10, by Vasily Kandinsky. 1910. Canvas, 120 by 140 cm. (Fondation Beyeler, Basel; photograph courtesy Peter Schibli).
Attributed works:
3. Tsikl lektsii (Cycle of lectures), by Nikolay Punin. Petrograd 1920. Cover designed by Kazimir Malevich. (Photograph courtesy Museum of Modern Art, New York).
Attributed works:
5. Black lines, by Vasily Kandinsky. 1913. 129.4 by 131.1 cm. (Solomon R. Guggenheim Museum, New York; Bridgeman Images).
Attributed works:
6. Painting with the red spot, by Vasily Kandinsky. 1914. Canvas, 130 by 130 cm. (Centre Georges Pompidou, Paris; Bridgeman Images).
Non-western art unattributed:
4. Members of RAKhN (Russian Academy of Artistic Sciences) in the building of Svomas (Free State Art Studios), Moscow, June 1921. From left to right: Robert Fal’k, Evsei Shor, Nikolai Uspensky, Vasily Kandinsky, Evgenii Pavlov and Aleksandr Shenshin. Reproduced in C. Derouet and J. Boissel, eds.: exh. cat. Œuvres de Vassily Kandinsky (1866–1944), Paris (Centre Georges Pompidou) 1984, p.156.
Exhibition Review
Siah Armajani: Follow This Line. Walker Art Center, Minneapolis
12/2018 | 1389 | 160
Pages: 1055-1058
related names
Reviewer:
Silberman, Robert (Silberman, Robert; Silberman, Robert B.)
Subjects
artists:
dates:
Illustrations
Attributed works:
21. Seven rooms of hospitality: Room for deportees, by Siah Armajani. 2017. Metal, wood, barbed wire, mailbox, hat and handbag, 243.8 by 305.4 by 111.1 cm. (Courtesy the artist and Rossi & Rossi; exh. Walker Art Center, Minneapolis).
Attributed works:
22. Dictionary for building: The garden gate, by Siah Armajani. 1982–1983. Wood, paint and book, 241.6 by 81.9 by 188 cm. (Walker Art Center, Minneapolis).
Attributed works:
23. Irene Hixon Whitney Bridge, Minneapolis. Designed by Siah Armajani. 1988. (Photograph Barbara Economon; courtesy Walker Art Center, Minneapolis).
Publication Received
Constructivism. By Aleksei Gan, translation and introduction by Christina Lodder.
12/2014 | 1341 | 156
Pages: 828
related names
Reviewer:
Vernon, Jonathan (Vernon, Jonathan ; V., J.)
Subjects
art literature:
dates:
Exhibition Review
Inventing Abstraction. New York
04/2013 | 1321 | 155
Pages: 289-291
related names
Reviewer:
White, Michael (White, Michael)
Subjects
dates:
Illustrations
Attributed works:
93. Berlin abstraction, by Marsden Hartley. 1914-15. Canvas, 80.8 x 64.8 cm. (Corcoran Gallery of Art, Washington; exh. Museum of Modern Art, New York).
Attributed works:
94. Mare = Ballerina (Sea = Dancer), by Gino Severini. 1913. Tempera and pastel on coardboard, 65.5 by 47 cm. (Triton Foundation; exh. Museum of Modern Art, New York).
Attributed works:
95. Synchromy in orange: to form, by Morgan Russell. 1913-14. Canvas, 342.9 by 308.6 cm. (Albright-Knox Art Gallery, Buffalo; exh. Museum of Modern Art, New York).
Article
The Russian section of the ‘Machine-Age Exposition’ (1927)
10/2012 | 1315 | 154
Pages: 694-700
related names
Author:
Blood, Anne (Blood, Anne)
Subjects
art literature:
dates:
museums and institutions:
subjects:
Illustrations
Attributed works:
22. Cover of The Little Review, Supplement: Machine-Age Exposition, by Fernand Léger. 1927. (Archives of the Museum of Modern Art, New York).
Attributed works:
23. Front and back cover of The Little Review, Special Theatre Number: International Theatre Exposition, by Frederick Kiesler. 1926. 20.3 by 25.4 cm. (National Art Library, Victoria and Albert Museum, London).
Attributed works:
28. Electro-Physical Laboratory, Lefortovo, Moscow, by Ivan Sergeevich Nicolaev and Anatoly Stepanovich Fisenko. 1927. Photograph from H.R. Hitchcock and P. Johnson: The International Style, New York 1932, p. 237.
Attributed works:
29. First version of a Garage for 1,000 automobiles, by Konstantin Melnikov. 1925. Drawings. (Private collection).
Attributed works:
30. Machine-Age Exposition catalogue, 1927, pp. 34-35, showing Constructed torso, by Naum Gabo (top right), and a costume design by Alexandra Exter (bottom left).
Attributed works:
32b. S.O. Khan-Magomedov: Pioneers of Soviet Architecture: The Search for New Solutions in the 1920s and 1930s, London, 1987, p. 229.
Western art unattributed:
24. Installation view of the International Theatre Exposition, Steinway Hall, New York, 1926.
Western art unattributed:
25. Installation view of the Internationale Ausstellung neuer Theatertechnik, Vienna. 1924. (Courtesy of Frederick and Lilian Kiesler Foundation, Vienna).
Western art unattributed:
26. Installation view of the Russian section at the International Theatre Exposition, Steinway Hall, New York, 1926.
Western art unattributed:
27. Installation view of the Russian section at the International Theatre Exposition, Steinway Hall, New York, 1926.
Western art unattributed:
31. Installation view of the 'Constructivist Room' from the First Exhibition of Modern Architecture, Moscow, 1927.
Western art unattributed:
32a. Machine-Age Exposition catalogue, 1927, pp. 32-33.
Exhibition Review
Rodchenko and his circle. London
04/2011 | 1297 | 153
Pages: 271-272
related names
Reviewer:
Blood, Anne (Blood, Anne)
Subjects
dates:
dates:
places:
print:
Reviewed Items
subjects:
Rodchenko and his circle. Constructing the Future Through Photography | institution: Art Sensus
Illustrations
Attributed works:
66. Design for the Palace of Congress, by VKhUTEMAS workshops. 1923. Vintage gelatin silver print, 19 by 12.7 cm. (Courtesy of the Tosca Photography Fund; exh. Art Sensus, London).
Attributed works:
67. Portrait of Lilia Brik, by Alexander Rodchenko. 1924 (reprinted in 1990). Photograph, 42.7 by 25.8 cm. (Courtesy of the Tosca Photography Fund; exh. Art Sensus, London).
Western art unattributed:
68. Max Alpert, 20th century. Anonymous. c.1920s–30s. Vintage gelatin silver print, 11.2 by 8.6 cm. (Courtesy of the Tosca Photography Fund; exh. Art Sensus, London).
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