‘Suprematism, considered ‘the first systematic school of abstract painting in the modern movement,’ was developed by Kazimir Malevich in 1913 and introduced at the 1915 0-10 exhibition in St. Petersburg.’ –Alexander Boguslawski
This is my favorite Suprematist piece, Malevitch’s Sensation of Flight, c. 1914-15. Pure objects, any meaning comes from the viewer’s own interpretation.
Yves Lecoq
Ever wonder what Germany may have looked like if the Weimar Republic kept going?
I like to think answers to this question could be found in the wonderful image sets posted over at kraftgenie’s Weimar blog. Each post is a collection of seemingly related imagery that is simply . . . Weimar.
Eugenio Recuenco
Yuval Yairi
Sabine Pigalle
Chantal Michel
Mikel Uribetxeberria
Bill Brandt
Madame Peripetie
Brooke Shaden
Brooke Shaden
Marilyn Minter
Inez van Lamsweerde
Tamara Lischka
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‘Type is universal’
Typography is everywhere – and as an art form is often overlooked.
There are very few actual documentaries about type – and PBS decided to take on the task of making one. Or in this case, remaking one. Off Book: Type premiered this week as sort of a seven minute version of Gary Hustwit’s Helvetica. Sort of. It IS a new doc, tho it does cover some ground already treaded.
Off Book is PBS’ new online series focusing on ‘experimental and nontraditional art forms.’ For more information, read here. Website here.
Above, artist Sherrie Levine’s Fountain (Buddha) (1996) with Duchamp’s original (1917). From the exhibition, Keeping it Real (2010).
Below, ‘a personal note from Queen’s Roger Taylor’ (2011).
Roger Taylor: Dear Mr Murdoch
Ideas. Tyler Shields.
‘Vorticism was a radical art movement that shone briefly but brightly in the years before and during World War I.’
A few months back, I picked up Black Sparrow Press’ reprints of Wyndham Lewis’ Vorticist journal Blast Magazine. Vorticism was the British entry into the realm of modern art.
There were only two issues – which ‘blasted’ old Edwardian forms in favor of the new machine aesthetic that was about to take over the world.
Out with the old, in with the new, as it were.
The two issues of Blast – there were only two – are available for browsing at issuu. Check them out here and here.
I see a connection between Lewis’ work and the original production design of TRON. But that may just be me.
There is also a retrospective now going on at the Tate. Video referencing the work of Vorticist practitioner Henri Gaudier-Brzeska (1891-1915), below.
‘Before there were photocopiers, scanners and printers, there was the Ditto Machine (a.k.a. spirit duplicator), produced by the Illinois-based Ditto Corporation; originally introduced in 1923.’ –mnn
Clifford the Big Red Dog was supposed to be red. But in the handout I got in kindergarten, he was purple.
So was my introduction to the Ditto Machine – a device used to replicate most of the paperwork I’d used in elementary school.
Some of my earliest experiences as a ‘graphics’ guy was playing with one of these machines – seeing what it could reproduce and what it couldn’t. It couldn’t reproduce much. The copies were so smudgy, Dittos were grunge before grunge was grunge.
And the smell of the purple ink was incredible. Fruity and chemically at the same time! Tho it turns out ink ingredients – isopropanol and methanol – are toxic substances. Who knew? [Read more →]
‘With a combination of live-action and animation, Khrzhanovskiy weaves a magical portrait of Brodsky and his milieu from post-war Leningrad to an imaginary visit to the new St. Petersburg’
Above, trailer for Andrey Khrzhanovskiy’s A Room and a Half – based on the life of poet Joseph Brodsky (1940-96).
Joseph Brodsky, baby Hermes typewriter
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