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  • El Lissitzky, The Avant-Garde, and The Russian Revolution
    IN 1924 EL LISSITZKY PRODUCED a fascinating document on his status with respect to the postwar avant-garde and to the ongoing development of the Bolshevik Revolution The Constructor (Self-Portrait), Fig …
  • El Lissitzky’s “Prouns”, Part I - Artforum
    During the teens Lissitzky traveled widely throughout Europe before returning to Russia at mid-decade During this time his art continued to show many of the stylistic features noted above, while revealing the influence of a number of contemporary art and social movements For example, the Cubo-Futurist tradition, which Lissitzky had encountered both in the art of the Italian Futurists and in
  • El Lissitzky’s “Prouns”, Part II - Artforum
    The opera itself held particular significance for Lissitzky, since Malevich’s first Suprematist composition formed part of the decoration for the 1913 premiere in St Petersburg and since the subject of the opera dealt with man’s triumph over nature, a theme very close to Lissitzky’s idealistic, Communist beliefs
  • “Lissitzky—Kabakov, Utopia—Reality” - Artforum
    Van Abbemuseum From the very dash in the exhibition’s title, “Lissitzky—Kabakov Utopia and Reality” figures a generational gap as an impermeable spatial divide On one side of each gallery are works by Russian Constructivist El Lissitzky that envision new forms for a Soviet future; on the other is the oeuvre of Russian-born husband-and-wife team Ilya and Emilia Kabakov, which reflects
  • El Lissitzky: Beyond the Abstract - artforum. com
    Although Lissitzky is best known as a painter, sculptor, and graphic artist, here Margarita Tupitsyn and Thomas Wesk (of the Sprengel) focus on the artist’s work with photography and photo-montage …
  • JUST WHAT WAS IT . . . ?: THE ART OF RICHARD HAMILTON
    When we think of the innovative design of analytical exhibitions in the prewar era, we call up figures like El Lissitzky and László Moholy-Nagy; and if we consider postwar cases, the Independent Group comes to mind—from its “Parallel of Life and Art,” staged by IG colleagues Eduardo Paolozzi, Nigel Henderson, and the Smithsons at the
  • ALLEGORICAL PROCEDURES: APPROPRIATION AND MONTAGE IN . . . - Artforum
    They are reminiscent of the grand-scale exhibition panels in the later Productivist work of El Lissitzky, such as his installation for the Soviet Pavilion of the International Pressa Exhibition in Cologne in 1928 with Sergei Senkin, or the International Hygiene Exhibition in Dresden in 1930, in which photomontage techniques were expanded onto
  • Arts Professionals Accuse Ghent Museum of Exhibiting . . . - Artforum
    The open letter in full is as follows: On 20 October 2017, the Museum of Fine Arts in Ghent (MSK – Museum voor Schone Kunsten Gent) opened a new display of its permanent collection to the public However, among the exhibited artworks were 26 pieces that did not belong to the museum—objects attributed to Kazimir Malevich, Wassily Kandinsky, Vladimir Tatlin, Lazar el Lissitzky, Alexei
  • Alan C. Birnholz – Artforum
    Alan C Birnholz Contributor More Features El Lissitzky, The Avant-Garde, and The Russian Revolution By Alan C Birnholz Print September 1972 Features
  • The Constructivist Ethos: Russia 1913–1932 (Part II) - Artforum
    I refer to El Lissitzky and his project for Victory over the Sun EL LISSITZKY Lissitzky’s repute as an illustrator of Jewish books caused Chagall to invite him to take up a teaching post at Vitebsk Lissitzky duly went, met Malevich, who was also teaching there, and took up the cause of the latter; Chagall was soon ousted from his post





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