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Yulia Karpova

, took a different stance. He saw a clear purpose in seemingly useless objects: creative consumption, that is, the transfer of creative impulse from an artist to a consumer. Even if an object lacks practical applicability, it can satisfy ‘everyone’s need for independent creative choices’. That is, by purchasing or even merely observing an object, one is making a creative choice. Objects for creative consumption, Rozenblium believed, could be equally useful at an exhibition, at home or at work: this position echoed the avant-gardist object that would act as co-worker

in Comradely objects
Yulia Karpova

interest for architects, designers and workers who inhabited rooms appropriated from the bourgeoisie and the newly built house-communes. Boris Arvatov celebrated collapsible furniture as an example of a new thing, ‘functional and active, connected like a co-worker with human practice’.67 In accordance with the productivist image of socialist objects, students of dermetfak at Vkhutemas designed various types of collapsible furniture, mostly made of wood, but in some cases also with steel tubes. After graduating in the late 1920s, some of these ‘pioneers of Soviet design

in Comradely objects
Open Access (free)
Soviet things that talk
Yulia Karpova

iskusstvo) or ‘productivism’ (proizvodstvennichestvo). At its core was the repudiation of easel and figurative art and the critique of the elevated role of the artist as separate from industrial production. Artists such as Varvara Stepanova, Liubov Popova and Aleksandr Rodchenko, supported by such theorists as Boris Arvatov, Nikolai Tarabukin and Osip Brik, centred around the avant-garde journal LEF (Left Front of Art), put forward a vision of the artist as just one of many industrial workers involved in the making of an object. The productivists believed that organising

in Comradely objects
Open Access (free)
Janet Wolff

in various campaigns for education and for women. As a member of the City Council, she served as Chair of the Education Committee in 1932–33, and as Chair of the Education Advisory Committee of the Workers Educational Association. Although Ernest was not elected to Parliament again after 1931, he did stand for election one more time, in a 1946 by-election. This was the Combined English Universities seat, which had become vacant on the death of Eleanor Rathbone. Ernest stood as an independent candidate this time, after decades in the Liberal Party. The independent

in Austerity baby
Open Access (free)
Tania Anne Woloshyn

beneficial spaces for their sitters and workers, and they equally incorporated panes of frosted blue glass for their pleasing light effects on the sitters’ complexions in photographs. Her chapter discussed the fascinating correspondences and ‘material resemblance’ between Pleasonton’s blue-light therapy (what she termed ‘phototherapy’) and studio portrait photography using blue glass, between ‘two technologies of light’. 9

in Soaking up the rays
Yulia Karpova

[-engineers], media and communication workers, mechanical engineers, workers of light and woodworking industries, and so on’.8 Design was not only recognised as a complex activity instead of a modernised applied art, but the product of design appeared more complex than just the object itself. While neodecorativists complicated their handmade singular or small-edition objects by embedding them in a web of symbolic meanings, VNIITE designers increasingly saw objects as being elements of ‘equipment’ and ‘furnishings’. This new vision relied on both the legacy of productivism and the

in Comradely objects
Open Access (free)
Tania Anne Woloshyn

knowledge about the correct doses of artificial sunlight.’ 63 Earlier, in a 1925 article in the Lancet , Eidinow expressed his anxiety over the lack of standards in measuring and regulating ultraviolet dosage: Up to the present very little attention has been given to the question of dosage of ultra-violet light sources, and many workers consider this

in Soaking up the rays
Open Access (free)
Tania Anne Woloshyn

.10  Advertisement for the ‘Vi-tan’ mercury vapour lamp. In Sun Bathing Review , 4:17 (1937), 180. Hawk Editorial, publisher of H&E Naturist magazine, www.henaturist.net . The foldable, illustrated colour pamphlet of c . 1936 promoted the ‘Vi-tan’ as an essential device of preventive medicine for all workers in industrial areas and those in indoor, sedentary occupations

in Soaking up the rays
Open Access (free)
Janet Wolff

accidentally exposed an underlying theme. Or perhaps not so accidentally. Is there a certain ‘modesty’ in writing memoir through other people’s stories? I prefer to think of it, in fact, as obliquity. Of course this has been a story about my own Atlantic moves – both geographical and emotional. If others – Henry Norr, my father, the Sellafield workers, Richard Hoggart – take up more space than me in these pages, perhaps my marginality is a rather immodest device. The people I write about are mobilised by my narrative, and serve the purpose of telling my story. And yet there

in Austerity baby
Yulia Karpova

emerged even before Khrushchev’s resignation and his KARPOVA 9781526139870 PRINT.indd 99 20/01/2020 11:10 100 Comradely objects successor’s critique of his bold reformism. One of them was immediately connected to Dekorativnoe Iskusstvo SSSR. At the beginning of 1963, the art critic Leonid Nevler, commissioned by the journal’s editorial board, undertook a ‘field trip’ to student and workers’ dormitories in the town of Kalinin (now Tver) in order to learn about people’s actual tastes in home furnishings and to give them specialist advice. The trip report was

in Comradely objects