Word: tatlin
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Then there is the international preoccupation with a benign Utopia -- Europe's reaction against the horror of war -- whose "spiritual" symbol was glass architecture. Besides the familiar Constructivist icons, such as the sculptor Vladimir Tatlin's wooden model for a giant tower that was to commemorate the Third Communist International, there are fantasies by much- lesser-known artists -- the outstanding one being a German, Wenzel Hablik, whose radiant glass towers and many-colored domes resemble designs for the New Jerusalem...
...Vinaver, sent him to Paris that year. He took a studio in a rickety building near the slaughteryards and found that his neighbors were Soutine, Leger and Modigliani. Back in Russia by 1914, Chagall waited out World War I (and was plunged into the Revolution) in the company of Tatlin, Malevich and Kandinsky...
...their own formal inventions as clichés. Most, though not all, of Nevelson's work is free from that tendency. If she is not one of the great formal innovators of modern sculpture-and her contribution to its syntax cannot fairly be compared with Picasso's, Tatlin's, Brancusi's or even David Smith's-she has a very deep reservoir of feeling that has infused her art and saves it from looking arid or repetitious. As a sculptor of feeling, her only peer among living American artists is Isamu Noguchi. In a time...
This deep hostility to modernism, a permanent legacy of Stalin, seems especially ironic to Western eyes because it was in Russia, between 1910 and 1925, that one of the great experiments of modern art was carried out. The leaders of the avantgarde, among them Kasimir Malevich, Naum Gabo, Vladimir Tatlin, Alexander Rodchenko and El Lissitzky, wanted to serve the new power of the left by combining revolutionary art with revolutionary politics. Russian constructivism was, in fact, the only heroic modernist style that drew its strength from the revolutionary impetus. Yet its sin was in being abstract, and for that...
...materials; it is a pure proposition of the kind of half religious ideal that was soon to be censored out of Russian art by Stalin. On the other hand, the work of Iwan Puni and Vladimir Tallin was virtually dialectical materialism transferred into art-"real materials," as Tatlin put it, possibly drawing on his own experience as a marine carpenter, "in real space." When Puni stuck a ham mer onto one of his reliefs, and a saw onto another, he did so to praise the world of work and its appropriate tools, to give sculpture a new standing...