Following 1917, a new artistic-social avant-garde emerged aiming to engage the artist in the building of social life. Through close readings of the works of Alexander Rodchenko, El Lissitzky and Laszlo Moholy-Nagy, this book examines the way in which these three artists negotiated the changing relations between their social ideals and political realities they confronted.
In the early 1820s, when the Comte Hneri de Saint-Simon first conceived of the artist as a social visionary, allied in an elite triumvirate of leders with the scientist and the industrialist, he defined a role for the artist that has remained an elusive ideal ever since.
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The aim of developing this relationship was central to a newartistic social avant-garde. Here we can think of the Futurists' desire to express the speed, cacophony, and simultaneity of everyday life in their art as well as to extend their sensibility to typography, furniture, interiors, and even the design of cities. The Expressionists were not similarly oriented to design,but they too sought an engagement with life as did the Dadaists in Berlin. Artists who believed in the principles of De Stiji and neoplaticism, no... (查看原文)
还没人写过短评呢
还没人写过短评呢