Jack Burnham

  • An Exchange

    TERRY FENTON’S OVERSIMPLIFICATIONS have only added to the confusions surrounding Constructivism.

    Ten years ago it might have been barely permissible to interpret Constructivism through the writings of Gabo, which after the 1920 Realist Manifesto show a notably altered relationship to science and society. Gabo’s writings were Constructivism to the great majority of the Western art world. With the many pieces of scholarship now at hand, in English, and covering Tatlin’s return to Russia (1913) through the activities of the Russian Constructivists in the early 1930s, there is scant excuse for writing

  • Systems Esthetics

    A POLARITY IS PRESENTLY developing between the finite, unique work of high art, i.e. painting or sculpture and conceptions which can loosely be termed “unobjects,” these either environments or artifacts which resist prevailing critical analysis. This includes works by some primary sculptors (though some may reject the charge of creating environment), some gallery kinetic and luminous art, some outdoor works, happenings, and mixed media presentations. Looming below the surface of this dichotomy is a sense of radical evolution which seems to run counter to the waning revolution of abstract and