Margarita Tupitsyn Books

City portraits were a favorite theme of avant-garde photographers. The booming industrial metropolises, whose faces were to change radically within a few years, called for a new vision and unaccustomed perspectives. This is revealed in The New Moscow, Aleksandr Rodchenko’s view of the capital of the then still young Soviet Union, whose dynamic awakening during the Socialist era inspired the avant-garde artist to create this unusual project. After being expelled from the October group in 1932, Rodchenko was commissioned to take pictures of Moscow. Out of this series Varvara Stepanova, his wife and colleague, compiled a narrative sequence of eight-nine gelatin silver prints adding to it some photographs from the October period. The photos of street parades, housing projects, technical buildings, new sport facilities, and factories taken between the late twenties and early thirties were meant to appeal on two firstly for their new aesthetics—the famous Rodchenko perspective and secondly for their film-like sequencing. The artist prepared the series for a 1933 edition, which was never published. Many of his high quality vintage prints were preserved, however, and are now published in a complete reconstruction of The New Moscow. • Over 80 photos• Will be of interest from a photographic as well as cinematic viewpoint• Compelling document of what was then a young Soviet Union

Studies the schism between Expressionism and Geometric Abstraction in Modernist history as represented in the work of Kandinsky as both the originator of Expressionistic painting and defender of the intuitive mode of abstraction

Kazimir Malevich (1878-1935), a significant yet often overlooked figure in Soviet avant-garde discussions, is examined in depth regarding his contributions to photography and film. Margarita Tupitsyn's analysis places Malevich firmly within the Soviet post-abstract discourse and reshapes the understanding of his post-Suprematist period. By exploring Malevich's engagement with film for the first time, Tupitsyn utilizes lesser-known writings by the artist, newly accessible works, and previously unpublished photographs and documents. This research reveals that Malevich's influence on twentieth-century art is broader than previously acknowledged. The book begins with a re-evaluation of Black Square, a painting whose meaning evolved over time, marking Malevich's transition from painting to mechanically generated production. This shift influenced the post-revolutionary phase of his Suprematism and led to his departure from abstraction in the late 1920s. Tupitsyn delves into Malevich's writings on cinema, the cinematic qualities of his works, and the connections with contemporary artists. The impact of his thought and work on Russian, European, and American artists in the 1920s, 1930s, and post-war period is also highlighted. This book serves as the catalogue for an exhibition opening in Lisbon in May 2002, which will later travel to Spain.

Книжная серия "Имена" имеет целью сформировать канон восприятия современного русского искусства в контексте искусства XX века. В серии будут изданы портреты-эссе современных русских художников, художников русского авангарда, представителей "неофициального" искусства советского периода, художников официального советского искусства (взятых со стороны их малоизвестных работ), а также книги, посвященные художественным проектам (графика, фотографии, инсталляции) русских архитекторов, дизайнеров, кино- и театральных режиссеров XX века. В серии также предполагается издание книг, посвященных художественным группам и объединениям ("Арефьевский кружок", "Лианозовская группа", "ЛЕФ" и др.), и важным художественным событиям.

Fotografie, Design, Kooperation This german edition explores both the political and aesthetic aspects of Lissitzky's late multimedia work, from his designs for the Abstract Cabinet to his death in 1941.