leading the charge in czechoslovakia,
constructivists proposed to replace art’s traditional concern with composition with a focus on construction. objects were to be created not in order to express beauty, or the artist’s outlook, or to represent the world, but to carry out a fundamental analysis of the materials and forms of art, one which might lead to the design of functional objects.
Stedelijk Museum Amsterdam: 100 Years Russian Revolution – Constructing the New Man
he made constructivism playful and used geometry to create the dynamics of organization.
: noel martin
philip pearlstein, the realist painter, was sutnar’s assistant for many years. he remembers that sutnar loved taking things apart to find the right organizing structure and reconstruct it. in this sense he referred to himself as a constructivist.
the most important Italian avant-garde art movement of the 20th century, Futurism celebrated advanced technology and urban modernity. committed to the new, its members wished to destroy older forms of culture and to demonstrate the beauty of modern life – the beauty of the machine, speed, violence and change.
Fortunato Depero, Vanity Fair cover, July 1930.
modern art is the creative world’s response to the rationalist practices and perspectives of the new lives and ideas provided by the technological advances of the industrial age that caused contemporary society to manifest itself in new ways compared to the past.
László Moholy-Nagy, "D IV," 1922
the designer must think first, work later.
: ladislav sutnar
the mission to modernize antiquated aspects of european life led directly to efficient communications expressed through typographic purity. overshadowed by two contemporaries, el lissitsky and moholy-nagy, sutnar is a relatively unsung leader of modern objective typography.
suprematism, the invention of Russian artist Kazimir Malevich, was one of the earliest and most radical developments in abstract art. its name derived from Malevich’s belief that Suprematist art would be superior to all the art of the past, and that it would lead to the “supremacy of pure feeling or perception in the pictorial arts.
Nadia Khodossievitch Leger, "Geometric Forms in Space No. 5," 1924.