Word: tallin
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Fort-Brescia and Spear admit to being influenced by the Russian constructivists (like Vladimir Tallin and El Lissitzky) and their predilection for making architecture a kind of artistic engineering. The team's use of bold primary shades suggests the paintings of Mondrian's De Stijl. And some of its whimsy-such as the yellow, finlike balconies that stick out of the Atlantis' glass façade to emphasize its entrance-recalls...
...clear, the fantasy of evolution from matter into spirit was shared by other Munich artists before 1914, most strikingly by Hermann Obrist, whose unbuilt project for a monument -figures ascending a spiral, hauled up on top by a winged angel - predicted the great unbuilt monument of the 20th century, Tallin's iron tower for the Third International in Russia...
Artistic avant-gardes wither in totalitarian regimes, whether of the left or the right. The collective efforts of the constructivists Rodchenko, Lissitzky, Tallin and the rest were only possible, one may surmise, because they did not realize how totalitarian Leninism actually was. Oligarchs, whether collective or single, dislike the very idea of avant-garde art because it creates new elites. As Ortega y Gasset remarked, its first effect is to divide; it splits the audience into those who understand it and those who do not. This cleavage does not necessarily run along political lines, and so it may not conform...
...their work on the available prewar styles of avant-garde art - mainly Fauvism, cubism and futurism -were able to digest and develop them with tremendous speed and urgency, leaping beyond their prototypes like pole vaulters. To see this at work, one need only look at the development of Vladimir Tallin's sculpture after his first contact with Picasso's tin cubist Guitar, 1912, in Paris, or at the conviction with which Kasimir Malevich moved from cubism to a purely abstract painting...
Nevertheless, Tallin's project for a Monument to the Third International, 1920, which would have topped out at 1,400 ft., dwarfed the Eiffel Tower and given the U.S.S.R. the greatest industrial metaphor in the world, was a euphoric paean to the marriage of "objective" material-girders and glass-with dialectics The idea of a necessary link between the nature of modern art and the aims of socialism was everywhere. "Each part of a futurist picture," Natan Altman argued, "acquires meaning only through the interaction of all the other parts"; its task was not to depict, but to explain...