Open Access (free)
Tania Anne Woloshyn

Contemporary Art, 1992), pp. 6–18, at p. 8. See also Victor Margolin, The Struggle for Utopia: Rodchenko, Lissitzky, Moholy-Nagy, 1917–1946 ( Chicago, Ill. : University of Chicago Press, 1997); Christina Kiaer, Imagine No Possessions: The Socialist Objects of Russian Constructivism ( Cambridge, Mass. : MIT Press, 2005); Sally Stein, ‘ The Composite Photographic Image and the Composition of

in Soaking up the rays
Yulia Karpova

this function. Impeccable in theory, in practice this path was often prohibitively simplified: function was understood in a crudely utilitarian sense, while form was seen in a mechanical-constructivist sense: a chair is a prop for sitting, a suit is a cover for thermal defence of the body, and a tea service is a system of reservoirs for storing and moving liquids. A house is a machine for living.84 If in the time of the aesthetic turn such sneering allusions to Russian Constructivism and Le Corbusier’s functionalism would have placed Pereverzev in the camp of the

in Comradely objects