22nd July 1920, British constructive artist Malcolm Hughes was born.
He was a radio operator in the Royal Navy. After the war he became influenced by British abstract artists of the period whilst training at the Regional College of Art in Manchester and then later at the Royal College of Art in London. Whilst he was a student in London his work was in the socialist realism style and he was involved in painting a large mural at the Royal Courts of Justice. By the 1960s he had developed his own form of constructivism and his work was exhibited at the Institute of Contemporary Arts in London and the Salon des Réalités Nouvelles in Paris.
He taught at a number of institutions during his life. During the 1960s he taught part-time at the architecture department of the Polytechnic of Central London, Bath Academy of Art and Chelsea School of Art, where he taught alongside two other constructive artists, John Ernest and Anthony Hill. In 1970 he began to teach part-time at the Slade School of Art and in 1973 began to run the graduate programme there.
His works are in a number of collections, including at the Tate, Warwick University, Manchester City Art Gallery, Sussex University and the British Council.
In 2008, his work featured in an exhibition at Southampton City Art Gallery alongside other constructive artists, including Peter Lowe, Mary Martin.
In the picture you can see his work "White, Grey & Aluminium Additive-unit Relief" from 1967
Terrific interview with the one and only Alexander Wendt! Alex is the Mershon Professor of International Security and Political Science at The Ohio State University. In a 2013 survey amongst 1400 scholars of International Relations around the world, he was voted most influential scholar of the last 20 years. Alex has an exciting new book out called "Quantum Mind and Social Science," which you should all check out! He is also just the most wonderful person! Very excited to later publish the transcript of this one! #interview19#whytrump#alexwendt#columbus#ohio#osu#quantummind#mentor#lifecoach#roadtrip#constructivism#internationalrelations
My work is solitary. I work by myself in the studio most days of the week. This work is my sole vocation. It supports all that I do outside in life. In return, the work has its own requirements—to give it everything it needs, without exception.
I try to make humble work, honoring all of the great people who have toiled endlessly and ceaselessly before me. This is a life of dedication.
There are times when the only reward is the work itself. Other times, the rewards are vast and complicated. For the time being, the work is the reward.
Редкий пример, когда конструктивисткое здание было не построено с нуля, а надстроено над домом 19 века, сохранившим при этом свой облик. Мы ваш, мы старый мир достроим. #constructivism#Irkutsk#Siberia#Russia
LIUBOV POPOVA◽Part 1◾
FROM RESISTANCE TO SUPREMATISM TO HER FIRST ATTEMPTS ⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜⬜
🔴1◾RESISTANCE TO SUPREMATISM◾By 1915, Liubov Popova had pushed real world objects to edge of full abstraction. But she was not ready to jump to full abstraction. K.S. Malevich made the jump publicly in painting by December 1915, at 0.10 - The Last Futurist Exhibition' in Petrograd. Liubov resisted his first attempt. Instead she and Nadezhda Udaltsova stuck with Tatlin in his room. Popova hastily painted the sign on the entrance to their room: 'Room for professional painters only.' A protest to the simplification of art in Malevich's Suprematism version 1.0. And the profound question asked by his genius painting of 'Black Square.' The painting that raised the question: 'What is art?' ▶Photo 4 is a scupto-painting she exhibited at that exhibition■
🔴2◾HER EARLY SUPREMATISM◾In 1916, Popova converted to Suprematism. ▶Photo 1, 2 & 3 show her following Malevich in 1916, with simplicity. Challenging the idea of what a professional painter creates. As far as we know, she never used less than three forms and three colours in her paintings■
🔴3◾ASSOCIATION WITH THE OBJECT
Additionally, ▶photo 3, we see traces of a real world object in abstract pared down form. An association with a violin or a guitar. Making this 1916 goauche not fully non-objective. Liubov swam with the revolutionary times in form. But she was so productive and so quick to move to the next phase, we find remnants of her old themes crossing over into the next phase. This makes her a profound revolutionary woman artist. Moving on. No time to fully work through previous problematics or to disconnect with previous themes■
🔴4◾SPOT THE MISTAKE▶in photo 5◾
#constructivism#suprematism#cubism#womanartist#russianart#ЛюбовьПопова#liubovpopova#lyubovpopova#malevich#russianavantgarde#stpetersburg#newtretyakov in #moscow#russia ▶owns painting in photo 1