space (Nadezhda Udaltsova), history of the Western arts (Amshey Nurenberg) and tutelage by Wladimir Baranoff-Rossine. Art faculty The primary movements in art which influenced education at Vkhutemas were constructivism and suprematism, although individuals were versatile enough to fit into many or no movements—often teaching in multiple departments and working in diverse media. The leader figure of suprematist art, Kazimir Malevich, joined the teaching staff of Vkhutemas in 1925, though his group—Unovis, of the Vitebsk art college that included El Lissitzky—exhibited at Vkhutemas as early as 1921. While constructivism was ostensibly developed as an art form in graphics and sculpture, it had architecture and construction as its underlying subject matter. This influence pervaded the school. The artistic education at Vkhutemas tended to be multidisciplinary, which stemmed from its origins as a merger of a fine arts college and a craft school. A further contributor to this was the generality of the basic course, which continued after students had specialised and was complemented by a versatile faculty. Vkhutemas cultivated polymath masters in the Renaissance mold, many with achievements in graphics, sculpture, product design, and architecture. Painters and sculptors often made projects related to architecture; examples include Tatlin's Tower, Malevich's Architektons, and Rodchenko's Spatial Constructions. Artists moved from department to department, such as Rodchenko from painting to metalworking. Gustav Klutsis, who was head of a workshop on colour theory, also moved from painting and sculptural works to exhibition stands and kiosks. El Lissitzky, who had trained as an architect, also worked in a broad cross section of media such as graphics, print and exhibition design. Industrial faculty The industrial faculties had the task of preparing artists of a new type, artists capable of working not only in the traditional pictorial and plastic arts but also capable of creating all objects in the human environment such as the articles of daily life, the implements of labor, etc. The industrial department at Vkhutemas endeavored to create products of viability in the economy and functionality found in society. Class-based political requirements steered artists toward crafts, and the designing of household or industrial goods. There was significant pressure in this respect by the Central Committee of the Communist Party, that in 1926, 1927, and 1928, required a student body composition "of worker and peasant origins", and several demands for "working class" elements. This push for design economy resulted in a tendency towards working, functional designs with minimised