Russian Constructivism - Essay Example

Running Header: Russian Constructivism: Rodchenko Name of the Student: Name of the Instructor: Name of the course: Code of the course: Submission date: Introduction Throughout history artists have used contemporary art inform of paintings, photographs, sculptures, drawings and prints to reflect ideas, politics and values. Contemporary art and design refers to the current existing art. Drawing has been employed in order to provide an idea relating to when different artistic products were made (Kelsey, Davitt & Allday 4). Artists held the belief that the subconscious mind can understand the abstract images and marks that they presented in their products. They assumed that through the use of power abstract of art they can communicate deep philosophical and spiritual truths. On the other hand, the design of artistic objects and products was used to create a deeper meaning regarding the world and its inhabitants. Therefore, contemporary art is used to reflect a wide range of cultures and pressing issuing from different environments. This paper aims to identify the impacts of Aleksander Rodchenko on art, design, sculpture and photography on contemporary art and design. Photomontage According to Marien, Rodchenko assembled texts and images from a variety of mass media sources such as magazines and newspapers in order to make the photomontage (72). It was an iconic imagery which was introduced precisely after mimetic representation had been dismantled and abandoned. The photomontage was based upon the principle of self reference and was visually arresting which made the viewers to be motivated to interpret it. About this was a visual poem hence Rodchenko photomontage represented the sum of the poem parts and the unique meaning that readers could derive by reading it. He created the photomontage as a representation of the difficulties encountered in the search for a solution to the crisis of artistic representation (Bolton 59). It represented a stage of development through which finished photographs were used in order to construct totality. In addition, Rodchenko photomontage represented the origin of advertising technology and at the same time it gave a clear view regarding the differences between soviet artists and those from Berlin in Germany. North states that Rodchenko photomontage in the poem marked the invention of the most powerful tool through which artists in Russia could use in order to communicate to a large number of peoples and create understanding to them (45). Furthermore, it illustrated the need for individuals to join forces in order to achieve their visions as well as those of the society. Therefore, the photomontage increased social and political efficacy by providing more comprehensive and detailed information to a mass and diverse audience. Rodchenko represented the period through which the power of propaganda was increased by the use photomontages as well as the growth of totalitarian regimes which were characterized political leaders desire for social realism which was regarded as antithetical to obstruction (Nelsen 39). Rodchenko Compass Drawing According to Margolin, Early in 1915 Alexander Rodchenko produced a drawing using a compass and a ruler (11). This marked a sharp break from the traditional methods and subject matter of drawing. Rodchenko divided the surface of the drawing by combining straight and curved lines and he shaded some segments with a combination of black and other colors. The drawing reflected an emphasis on the materiality of artistic objects. North notes that the drawing was parallel to the Futurist theories that existed during that period (45). Rodchenko compass and paper drawing was not simply a surface demarcation with lines and colors but it illustrated the close relationship that existed between engineering and art hence this was used in order to enhance production. Moreover, this drawing illustrated his rejection of traditional art as well as his revolt against older generation of conservative artists and the bourgeoisie. On the other hand, the drawing was aimed at intensifying the efforts to eradicate Jewish separation in Russia (Armstrong 145). It was politically aimed at supporting and representing the development of Jewish socialist and nationalist tendencies. Rodchenko was able to show an assertion of the minority cultural identity that exited during that time which was coupled by an increase in Bolshevic attempts to suppress the culture of all nationalities in the Soviet Union. Therefore, through his compass and ruler drawing, Rodchenko demonstrated the terrain of art which was derived from the social policy and economic conditions that existed in the Soviet Union. Rodchenko Overall Design Boccioni and Brik state that Rodchenko overall design was a reflection of total re-organization and renovation of life (4). It was an indication of the process followed in designing the modern world in relation to clothing aspect whereby the body becomes a mobile vessel. The overall was designed by Rodchenko in 1922 in Russia and it was based on the principles of comfort and practicality. It indicated his attempts towards creating the workers suit of the future which would match with the constructivist principles (North 67). Furthermore, the overall illustrated the diversification of constructivist arts to all aspects of life. It indicated the role of art towards the promotion of social and artistic conceptions. The overall played an important role in reconstructing the universe by providing a modernized way through which workers could wear fashionable clothing’s. Furthermore, Rodchenko designed the overall in order to match clothing with the new machines and technologies that were invented at that time. The clothing also reflected the torrid time that existed whereby high prices of fabrics and economic crises made workers to favor new and much fresher clothing as compared to the grey, old and heavy garments that they used to wear. The overall was cheap and it could be easily reproduced to be worn by a large number of individuals (Marien 56). Therefore, Rodchenko was able to renovate the aspects of life through his overall and this enabled him to assist in industrial production in support of the communist revolution. Portrait Photography According to Margolin, the portrait photography by Rodchenko indicated his intention to preserve photographic aspects of art (47). The photography combined many aspects of other media by integrating formal literature and abstract painting. It demonstrated the revolutionary ideals during that era in regard to arts. The portrait consisted of his circle of immediate friends and he did this in response to the propaganda work that was commissioned during that period. Nelsen notes that reorganizing individual talents and fame was politically dangerous hence this required artists to engage in collective thoughts (65). However, Rodchenko was able to overcome these challenges through his intellectual and creative mind. Furthermore, the portrait photography illustrated Rodchenko preference for a series of photographs which were able to reveal the objects in different moments and aspects as compared to the common single image that prevailed during that era. This enabled people to make comparisons in regard to the photographs that were displayed on the portrait. Rodchenko idea was to make individuals to see everyday facts while eliminating the possibility of ambiguity and at the same time making sure that the experience was acute (Kelsey, Davitt & Allday 7). Therefore, through his portrait photography he was able to make people to understand the impressions held by the beholders of the photographs. Rodchenko influence on contemporary art and design Rodchenko influence on contemporary design and art is immeasurable due to the fact that many of his techniques were used widely in the 20th century (Vorhees 5). For instance, a comparison is drawn between the critical methods that Rodchenko utilized in his works to the contemporary work of the new American artists. Rodchenko employed arts with an aim of revolutionizing Russia and this has a great influence on the contemporary artists in America who have rose with an aim of enhancing justice through the use of arts (Bolton 104). Furthermore, he has influenced contemporary designers by increasing their form of self representation. Current designers have utilized the work Rodchenko in their designing process in order to ensure that they meet their client’s expectations and compromise (North 70). For instance, designers have continuously based the overall that they design based on the initial model that was created by Rodchenko. Furthermore, the posters that are designed by current artists in Russia can be greatly attributed to the work of Rodchenko. The posters utilize strict geometric composition and language similar to the one that was adopted by Rodchenko (Armstrong 73). Therefore, a great link exists between contemporary graphic designers and the art and design created by Rodchenko. Conclusion Rodchenko utilized photomontage in order to represent a stage of development through which finished photographs were used in order to construct totality. He did this by assembling texts and images from a variety of mass media sources in order to make a total art product. Moreover, his compass and ruler drawing was used in order to mark the break from the traditional methods and subject matter of drawing used in art and design. Rodchenko overall design was a representation of renovation and reorganization in workers clothing. In addition, his portrait photography presented a means through which individuals could compare the photographs in the portrait. Finally, Rodchenko influence on contemporary art and design can be seen on current posters which are designed in Russia. References Armstrong, Helen. Graphic Design Theory. New York: Princeton Press, 2009. Boccioni, Umberto & Osip Brik ‘.Abstraction and Idealization: The Case of Futurist and Constructivist Single Piece.’ Art Journal 65.1 (2007): 1-22. Bolton, Richard. The Contest of Meaning: Critical Histories of Photography. Massachusetts: MIT Press, 2005. Kelsey, Ken, Gail, Davitt & Ann Allday ‘. Contemporary Art and Design.’ Journal of Arts & Design 43.3 (2005): 1-30. Margolin, Victor. The Struggle for Utopia: Rodchenko, Lissitzky, Moholy-Nagy, 1917-1946. Chicago: University of Chicago Press, 1997. Marien, Mary. Photography: A Cultural History. London: Laurence King Publishing, 2009. Nelsen, Andrea. Reading Photo books. Ann Arbour:UMI, 2007. North, Micheal. Reading 1922: A Return to the Scene of the Modern. Oxford: Oxford University Press, 2006. Read More