User talk:SFerbank

jen
Jengoldberg315 (talk) 18:20, 17 September 2014 (UTC)

Assignment for 9/10
Hi Sarah! Cq245809 (talk) 18:21, 17 September 2014 (UTC) — Preceding unsigned comment added by Cq245809 (talk • contribs) 17:02, 16 September 2014 (UTC)

EDITS
I am planning to work with Aleksandra Ekster's Wikipedia page. I believe that there are many improvements that could be made to the page, specifically having a more in depth explanation for Ekster's artwork. The article serves as a timeline of Ekster's life, but I believe that it is important to have a full understanding and explanation for her genre, artistic intent, use of mediums, etc. The following is information that I believe is essential and should be added to the article:

Under the avant-guard umbrella, Ekster has been noted to be a suprematist and constructivist painter as well as a major influencer of the Art Deco movement.

In line with her eclectic avant-guard-like style, Ekster’s early paintings strongly influenced her costume design as well as her book illustrations, which are scarcely noted. All of Ekster’s works, no matter the medium, stick to her distinct style. Her works are vibrant, playful, dramatic, and theatrical in composition, subject matter, and color. Ekster constantly stayed true to her composition aesthetic across all mediums. Furthermore, each medium only enhanced and influenced her work in other mediums.

With her assimilation of many different genres her essential futurist and cubist ideas was always in tandem with her attention to colour and rhythm. Ekster uses many elements of geometric compositions, which reinforce the core intentions of dynamism, vibrant contrasts, and free brushwork. Ekster stretched the dynamic intentions of her work across all mediums. Ekster’s theatrical works such as sculptures, costume design, set design, and decorations for the revolutionary festivals, strongly reflect her work with geometric elements and vibrant intentions. Through her costume work she experimented with the transparency, movement, and vibrancy of fabrics. Ekster’s movement of her brushstroke in her artwork is reflected in the movement of the fabric in her costumes. Ekster’s theatrical sets used multi-coloured dimensions and experimented with spatial structures. She continued with these experimental tendencies in her later puppet designs. With her experimentation across many mediums Ekster started to take the concept of her costume designing and integrate it into everyday life. In 1921 Ekster’s work in fashion design began. Though her mass production designs were wearable, most of her fashion design was highly decorative and innovative, usually falling under the category of haute couture. In 1923, she continued her work across a plethora of mediums in addition to working in tandem with Vera Mukhina and Boris Gladkov in Moscow on the decorations in the pavilions of the All Russion Echibition.