Naum Gabo Training in engineering, mathematics, physics, medicine ///// [15] Rosalind Krauss Krauss paraphrasing Carola Giedion-Welcker says that Gabo's work is about using "light to open up matter to an analysis of its structure". FUTURISM AND CONSTRUCTIVISM Tatlin's constructivism used the properties of the material as the basis of form. Gabo's ideals were to imagine a conceptual form and then build it with the appropriate materials. ///// [14] Hulten, The Machine, As Seen . . . Kinetic Sculpture: Standing Wave, 1920 (same year as Rotary Glass Plate) - made in Moscow, 24.25 inches high - thin metal rod attached to the vibrator of a doorbell - a completely dematerialized volume, the space defined by the wave - these two projects were the first where artist used a motor for expressive means ///// [23] Frank Popper, Origins and Development of Kinetic Art Gabo's Virtual Kinetic Volume - the result of deep reflection - an example of principle in their Realist Manifesto - "Through constructivist techniques we are today capable of bringing to light the hidden forces of nature and realizing psychic events." - did not make an attempt to follow this experiment - he thought the motor was an encumbrance and thought that "future development in the study of heat and radio, and the powers released in the process, would make possible kinetic solutions of a type hither to unanticipated" ///// [07] Jack Burnam, Beyond Modern Sculpture [07, p230] Kinetic Construction, his only construction in real motion - it is utmost simplicity and this is part of its importance - virtual volume - immateriality of matter in Gabo's 1937 essay Circle "Mechanics have not yet reached that stage of absolute perfection where it can produce motion in a sculptural work without killing, through the mechanical parts, the pure sculptural content; because the motion is of importance and not the mechanism that produces it. Thus the solution of this problem becomes a task of future generations." ///// [09] Force Fields, reprint of The Realistic Manifesto [09, p228] by Naum Gabo and Antoine Pevsner "We renounce the thousand-year-old delusion in art that held the static rhythms as the only elements of the plastic and pictorial arts. We affirm in these arts a new element, the kinetic rhythms as the basic forms of our perception of real time."