Scissors versus T-square: on El Lissitzky’s Representations of Space
Journal Title: Online Journal of Art and Design - Year 2015, Vol 3, Issue 3
Abstract
The first exhibition of Russian art since the Revolution was held in Berlin at the Van Diemen Gallery in the spring of 1922. In Camilla Gray’s terms it was ‘the most important and the only comprehensive exhibition of Russian abstract art to be seen in the West’ (Gray, 1962:315). The exhibition was organized and arranged by Russian architect El Lissitzky who acted as a link between the Russian avant-garde and that of the west. He played a seminal role especially in Germany, where he had lived before the war and where he was a constant visitor between 1922 and 1928. The diversity of El Lissitzky’s talents in many fields of art including graphic design, painting, and photography made him known as ‘travelling salesman for the avant-garde.’ However, what makes the theoretical and visual works of Lissitzky discontinuous and divergent is that they include apparently contradictory domains. Through his short life by shifting different modes of representations - perspective, axonometry, photomontage - Lissitzky sometimes presented us a number of problems in his irrational way of using the techniques. This article concentrates on his contradictory arguments on representation of space especially between 1920 and 1924, by re-reading his theoretical texts published in the avant-garde magazines of the period and looking through his well-preserved visual works.
Authors and Affiliations
Acalya Allmer| Dokuz Eylül University, Turkey acalya.allmer@deu.edu.tr
Keywords
Related Articles
- EP ID EP8214
- DOI -
- Views 456
- Downloads 26
Güne? Kontrolü Tasar?m?n?n Görsel Konfor ve Gün????? Performans?na Etkisi: Ofis Binalar?
This study aims to examine the effect of solar control strategies in architecture on daylight performance in buildings and visual comfort conditions. It is well known that office buildings are of the building typologies...
Digilog Bamboo: Interactive Ink-and-Wash Painting Project
This study is in the form of digilog [1] that synthesizes analogue sentiment and digital technology, which reinterprets the Four Gracious Plants in modern context. Interactive Ink-and-Wash Painting Project aims to enable...
Alberti on Perspective: Calling His Bluff
There are lacunae in the paragraphs of De Pictura in which Leon Battista Alberti describes his method of perspective construction. Although this has been a matter of considerable discussion among Alberti scholars in rece...
EVALUATION OF DEPTH CUES IN 3D SUBTITLING
Recent explosion towards 3D content-enabled devices has brought to light many issues regarding user comfort, depth perception and accessibility in media. One important element that touches these areas is subtitling. We d...
The Representation of Bandits in Turkish Cinema
The banditry cannot be considered independent from the state which is used as a power and an apparatus of coercion against oppressed class by the ruling class. In this respect, for the existence of banditry or the bandit...