Posts Tagged ‘Constructivist

05
Dec
12

Jaroslav Rössler : Abstract Photography

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Jaroslav Rössler
‘Komposition mit Apfel’
20.5 x 20 cm
photo
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Jaroslav Rössler
‘Ei mit Eiffelturm’
20.5 x 20 cm
photo
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Jaroslav Rössler
‘Bez názvu / Untitled’
20.5 x 20 cm
photo
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Jaroslav Rössler
‘Bez názvu / Untitled’
20.5 x 20 cm
photo
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Jaroslav Rössler
‘Zátiší s uzávěrem’
20.5 x 20 cm
photo
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Jaroslav Rössler
‘Surimprese jablka’
20.5 x 20 cm
photo
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Jaroslav Rössler
‘Kompozice s ozubeným kolem’
20.5 x 20 cm
photo
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‘Loď’
Jaroslav Rössler
20.5 x 20 cm
photo
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Jaroslav Rössler (1902–1990) was one of the most important Czech avant-garde photographers and his work from the first half of the 1920s ranked amongst the earliest and most radical examples of the application of Abstract and Constructivist principles to photography. Rössler started as an assistant to František Drtikol, but quickly abandoned the pictorial style of his renowned teacher and began to focus on minimalist details of actual objects and on geometric paper cut-outs, abstract compositions with shadow and light, inventive photomontages, and Constructivist shots of modern engineering and architecture. In 1923 he was invited to join Devětsil, and thus became the only photographer in the most famous Czech avant-garde group of artists and writers. During his Paris sojourn, 1927–35, he worked in several important studios, mainly making modern photographs for advertisements, while continuing to experiment freely on his own. Later, after a long hiatus, he returned to experimentation in the mid-1950s, and once again contributed to the latest artistic trends in a truly original way. Extract

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Jaroslav Rössler : Abstract Photography (1923 – 1978)

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14
May
12

Alvin Lustig : Illustrations (The Ghost in the Underblows)

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“Ghost in the Underblows” (1940) for Ward Ritchie Press, echoed Constructivist typecase
experiments from the early twenties yet revealed a distinctly native American aesthetic.

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‘The Ghost in the Underblows’
Typographical illustrations
Alvin Lustig
1940
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‘The Ghost in the Underblows’
Typographical illustrations
Alvin Lustig
1940
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‘The Ghost in the Underblows’
Typographical illustrations
Alvin Lustig
1940
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‘The Ghost in the Underblows’
Typographical illustrations
Alvin Lustig
1940
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‘The Ghost in the Underblows’
Typographical illustrations
Alvin Lustig
1940
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Alvin Lustig introduced principles of modern art to graphic design that have had a long-term influence on contemporary practice. He was in the vanguard of a relatively small group who fervently, indeed religiously, believed in the curative power of good design when applied to all aspects of American life. He was a generalist, and yet in the specific media in which he excelled he established standards that are viable today. If one were to reconstruct, based on photographs, Lustig’s 1949 exhibition at The Composing Room Gallery, in New York, the exhibits on view and the installation would be remarkably fresh, particularly in terms of the current trends in art-based imagery. Lustig created monuments of ingenuity and objects of aesthetic pleasure. Whereas graphic design history is replete with artifacts that define certain disciplines and are also works of art, for a design to be so considered it must overcome the vicissitudes of fashion and be accepted as an integral part of the visual language. Though Lustig would consider it a small part of his overall output, no single project is more significant in this sense than his 1949 paperback cover for Lorca: 3 Tragedies. It is a masterpiece of symbolic acuity, compositional strength and typographic craft that appears to be, consciously or not, the basis for a great many contemporary book jackets and paperback covers. [Extract : Born Modern by Steven Heller]

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Alvin Lustig : Website

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Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

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