Vorticism was a radical art movement that shone briefly but brightly in the years before and during World War I. This exhibition celebrates the full electrifying force and vitality of this short-lived but pivotal modernist movement that was based in London but international in make-up and ambition.
The Vorticists forged a distinctive style combining machine-age forms and energetic imagery, embracing modernity and blasting away the staid legacy of the Edwardian past.
Focusing on the only two Vorticist exhibitions mounted during the lifetime, in London and New York, this striking exhibition brings together over 100 key works; including photography and literary ephemera, as well as seminal pieces by Wyndham Lewis, Jacob Epstein and Henri Gaudier-Brzeska.
This exhibition aims to shine a new light on this revolutionary group of artists, presenting the style, radical aesthetics and thoughts of one of the most truly avant-garde art movements in British history.
I am going back a bit now to 1996 to take a look at a project undertaken by architect and artist. I am interested in role of the architect in regards to modern art. There has been a lot of talk about the 4th Dimension coming out of places like Brooklyn, Berlin and London. This idea is not new, in fact it goes back as far as the beginning of the last century with the Supremism art movement in Russia founded in 1913 by Kasimir Malevich. The talk at the moment echoes ideas and thoughts of Russia just after the 1918 Revolution and thoughts of a new society of social equality. As the world faces economic depression so thoughts are focused on areas of greater importance, that of spiritual freedoms and as our general interest in consumerism depletes so our interest in ephemeral matters increases. The architect has to deal with the elements of wind, sound and light when constructing a building and these elements are an interesting dimension as yet untapped in modern art. Want interests me is h...
A Bakuba woman weaving a textile Kuba Textiles Kuba textiles are unique in the Democratic Republic of the Congo , formerly Zaire , for their elaboration and complexity of design and surface decoration. Most textiles are a variation on rectangular or square pieces of woven palm leaf fiber enhanced by geometric designs executed in linear embroidery and other stitches, which are cut to form pile surfaces resembling velvet. Women are responsible for transforming raffia cloth into various forms of textiles, including ceremonial skirts, ‘velvet’ tribute cloths, headdresses and basketry . Raffia Cloth In Kuba culture, men are responsible for raffia palm cultivation and the weaving of raffia cloth . Several types of raffia cloth are produced for different purposes, the most common form of which is a plain woven cloth that is used as the foundation for decorated textile production. Men produce the cloth on inclined, single-heddle looms and then use it to make their clothing and...
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