nickkahler reblogged
Lyubov Popova, Linear Composition, c. 1920 (via rosswolfe)
Source: thecharnelhouse.org
nickkahler reblogged
El Lissitzky, The New Man, 1923 (via rosswolfe)
Source: thecharnelhouse.org
nickkahler reblogged
El Lissitzky, The Troublemaker, 1923 (via rosswolfe)
Source: thecharnelhouse.org
Atlanta does not have the classical symptoms of a city; it is not dense; it is a sparse, thin carpet of habitation, a kind of suprematist composition of little fields. Its strongest contextual givens are vegetal and infrastructural: forests and roads. Atlanta is not a city; it is a landscape.
Rem Koolhaas, "Atlanta" in SMLXL, 1987/94
nickkahler reblogged
Ilya Chashnik, Red Square and Cross, 1928 (via blush)
nickkahler reblogged
Ilya Chashnik, Suprematist Composition, 1923 (via russianag)
Source: russianavantgard.com
Under Suprematism I understand the primacy of pure feeling in creative art. To the Suprematist, the visual phenomena of the objective world are, in themselves, meaningless; the significant thing is feeling, as such, quite apart from the environment in which it is called forth.
Kazimir Malevich, "On Suprematism," c. 1927