Everyday objects, cultural treasures:
We live in the Universe of Malevich, though we very rarely notice it. Vadim Gushchin photographs 'Everyday Objects' in such a way that it is immediately obvious that they have originated from Malevich's Black Square. The main idea of design is the sparing use of form. El Lissitzky, a...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Amsterdam
Schilt Publishing
2013
|
| Schlagworte: | |
| Zusammenfassung: | We live in the Universe of Malevich, though we very rarely notice it. Vadim Gushchin photographs 'Everyday Objects' in such a way that it is immediately obvious that they have originated from Malevich's Black Square. The main idea of design is the sparing use of form. El Lissitzky, a pupil of Kazimir Malevich, was the first to formulate this idea in relation to the industrial object. Malevich used the expressive means of painting sparingly. Lissitzky transformed his world for the needs of production. Consequently, Malevich can be found in the depths of an industrial object. In his rejection of illusionism, Vadim Gushchin follows in the path of Malevich. Because when we talk about pure forms, we recall Malevich - his works, reduced to the depiction of the pure plane. A paradoxical effect arises when photographing objects. It would appear that reality is being documented. That is to say, things are presented as they are. But in fact, in order to do this, things are taken beyond their usual context |
| Beschreibung: | 96 S. überw. Ill. |
| ISBN: | 9789053307922 9053307923 |
Internformat
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| 520 | |a We live in the Universe of Malevich, though we very rarely notice it. Vadim Gushchin photographs 'Everyday Objects' in such a way that it is immediately obvious that they have originated from Malevich's Black Square. The main idea of design is the sparing use of form. El Lissitzky, a pupil of Kazimir Malevich, was the first to formulate this idea in relation to the industrial object. Malevich used the expressive means of painting sparingly. Lissitzky transformed his world for the needs of production. Consequently, Malevich can be found in the depths of an industrial object. In his rejection of illusionism, Vadim Gushchin follows in the path of Malevich. Because when we talk about pure forms, we recall Malevich - his works, reduced to the depiction of the pure plane. A paradoxical effect arises when photographing objects. It would appear that reality is being documented. That is to say, things are presented as they are. But in fact, in order to do this, things are taken beyond their usual context | ||
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| id | DE-604.BV040949627 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:36:01Z |
| institution | BVB |
| isbn | 9789053307922 9053307923 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-025928200 |
| oclc_num | 888897167 |
| open_access_boolean | |
| owner | DE-255 |
| owner_facet | DE-255 |
| physical | 96 S. überw. Ill. |
| publishDate | 2013 |
| publishDateSearch | 2013 |
| publishDateSort | 2013 |
| publisher | Schilt Publishing |
| record_format | marc |
| spelling | Guščin, Vadim 1963- Verfasser (DE-588)121087832 aut Everyday objects, cultural treasures Vadim Gushchin. [Text: Mihail Sidlin] Vadim Gushchin : everyday objects, cultural treasures Amsterdam Schilt Publishing 2013 96 S. überw. Ill. txt rdacontent sti rdacontent n rdamedia nc rdacarrier We live in the Universe of Malevich, though we very rarely notice it. Vadim Gushchin photographs 'Everyday Objects' in such a way that it is immediately obvious that they have originated from Malevich's Black Square. The main idea of design is the sparing use of form. El Lissitzky, a pupil of Kazimir Malevich, was the first to formulate this idea in relation to the industrial object. Malevich used the expressive means of painting sparingly. Lissitzky transformed his world for the needs of production. Consequently, Malevich can be found in the depths of an industrial object. In his rejection of illusionism, Vadim Gushchin follows in the path of Malevich. Because when we talk about pure forms, we recall Malevich - his works, reduced to the depiction of the pure plane. A paradoxical effect arises when photographing objects. It would appear that reality is being documented. That is to say, things are presented as they are. But in fact, in order to do this, things are taken beyond their usual context Guščin, Vadim 1963- (DE-588)121087832 gnd rswk-swf Guščin, Vadim 1963- (DE-588)121087832 p DE-604 Sidlin, Michail Sonstige oth |
| spellingShingle | Guščin, Vadim 1963- Everyday objects, cultural treasures Guščin, Vadim 1963- (DE-588)121087832 gnd |
| subject_GND | (DE-588)121087832 |
| title | Everyday objects, cultural treasures |
| title_alt | Vadim Gushchin : everyday objects, cultural treasures |
| title_auth | Everyday objects, cultural treasures |
| title_exact_search | Everyday objects, cultural treasures |
| title_full | Everyday objects, cultural treasures Vadim Gushchin. [Text: Mihail Sidlin] |
| title_fullStr | Everyday objects, cultural treasures Vadim Gushchin. [Text: Mihail Sidlin] |
| title_full_unstemmed | Everyday objects, cultural treasures Vadim Gushchin. [Text: Mihail Sidlin] |
| title_short | Everyday objects, cultural treasures |
| title_sort | everyday objects cultural treasures |
| topic | Guščin, Vadim 1963- (DE-588)121087832 gnd |
| topic_facet | Guščin, Vadim 1963- |
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