Konstfacks bibliotek

*00001705nam a22005777a 4500
*00123528
*007|||||||||||||||||||||||
*008110824s2003    cau    |      001 0 eng c
*020  $a0-89236-677-X
*020  $a0-89236-677-X
*035  $a(Ko)27054
*084  $aIaa
*084  $aIbz Lissitzky, El
*24510$aSituating El Lissitzky :$bVitebsk, Berlin, Moscow  /$cedited by Nancy Perloff and Brian Reed
*260  $aLos Angeles, Calif. ;$a2003 :$bGetty Research Institute ,$ccop. 2003
*300  $a275 s.  :$bill. (vissa i färg), kartor  :$c26 cm
*440  $aIssues & debates  ;$v12
*504  $aIncludes bibliographical references and index
*60014$aLissitzky, El,$d1890-1941
*60014$aLissitzky, El,$d1890-1941
*60014$aCriticism and interpretation
*650 4$aAvant-garde (Aesthetics)
*650 4$aHistory
*650 4$a20th century.
*650 4$aRussia (Federation)
*650 4$aExperimentell konst
*650 4$aRyssland
*7001 $aPerloff, Nancy Lynn$4edt
*7001 $aReed, Brian,$d1971-$4edt
*7001 $aLissitzky, El,$d1890-1941$4art
*8520 $hKONST -  Ibz Lissitzky, El
*900  $aLisickij, Lazar Markovic
*900  $a1890-1941
*900  $a1890-1941
*900  $aLisickij, El
*900  $a1890-1941
*900  $a1890-1941
*900  $aLissitzky, Eleazar Marcovich
*900  $a1890-1941
*900  $a1890-1941
*900  $aLissitzky, Eleazar Markowic
*900  $a1890-1941
*900  $a1890-1941
*900  $aLisitskij, Lazar
*900  $a1890-1941
*900  $a1890-1941
^

Situating El Lissitzky reassesses the complex career of one of the most influential yet controversial experimental artists of the early twentieth century. A prolific painter, designer, architect, and photographer, El Lissitzky (1890-1941) worked with the Soviet and the European artistic avant-gardes in the 1920s and as a propagandist for the Stalinist regime in the following decade.

Taking readers into the thick of current debates about Lissitzky's artistic personae, Situating El Lissitzky reconstructs aspects of his elusive identity across different periods, places, and media. Following an introduction in which Nancy Perloff distills and draws together the volume's eight essays, Christina Lodder, Éva Forgács, and Maria Gough offer revisionist accounts of Lissitzky's years as an international constructivist and exhibition designer in Europe. John E. Bowlt then investigates the role of handicraft and the symbol of the hand in Lissitzky's artistic production, and Leah Dickerman and Margarita Tupitsyn elucidate the interplay between physicality and opticality at different stages in Lissitzky's development as a photographer. Finally, T. J. Clark and Peter Nisbet address the disconcerting balance of aesthetic value and political expediency in Lissitzky's overtly Communist art. The result is a kaleidoscopic portrait of Lissitzky as Bolshevik visionary, craftsman, modernist, internationalist, and Soviet propagandist.

• Acknowledgmentsp. ix
• The Puzzle of El Lissitzky's Artistic Identityp. 1
• East-West
• El Lissitzky and the Export of Constructivismp. 27
• Definitive Space: The Many Utopias of El Lissitzky's Proun Roomp. 47
• Constructivism Disoriented: El Lissitzky's Dresden and Hannover Demonstrationsraumep. 77
• Hand-Eye
• Manipulating Metaphors: El Lissitzky and the Crafted Handp. 129
• El Lissitzky's Camera Corpusp. 153
• After Vitebsk: El Lissitzky and Kazimir Malevich, 1924-1929p. 177
• Propaganda
• El Lissitzky in Vitebskp. 199
• El Lissitzky circa 1935: Two Propaganda Projects Reconsideredp. 211
• Platesp. 235
• Five Lettersp. 243
• Biographical Notes on the Contributorsp. 261
• Illustration Creditsp. 264
• Indexp. 268