Filed under book | Tags: · art history, avant-garde, constructivism, productivism, revolution, russia
“One of the most exciting movements in 20th century art, Russian constructivism radically reassessed the role of the artist and his work. Here, Lodder provides a detailed account of this complex movement and the reverberations it had on culture.”
Publisher Yale University Press, 1983
ISBN 0300027273, 9780300027273
Reviews: John E. Bowlt (New York Review of Books, 1984), John Willet (London Review of Books, 1984), Kirill Sokolov (Leonardo, 1984), John Pearson (Slavic Review, 1984), Paul Wood (Art History, 1985), Myroslava M. Mudrak (Art Bulletin, 1987).Comment (0)
Filed under book | Tags: · art, avant-garde, biography, constructivism, photography, productivism
The first English-language monograph on the constructivist and productivist artist and designer Alexander Rodchenko.
With essays by Alexander Lavrentiev, John Milner, Andrei Nakov, Szymon Bojko, Gail Harrison, Galina Chichagova, Zakhar Bykov, Hubertus Gassner, and historical writings by Rodchenko, Osip Brik, and Varvara Stepanova.
Published to coincide with the first retrospective exhibition of Rodchenko’s work shown at the Museum of Modern Art, Oxford, 10 Feb 79 to 25 Mar 79; Stedelijk Van Abbemuseum, Eindhoven, 11 May 79 to 17 Jun 79; Musée d’art contemporain, Montréal, 26 Jul 79 to 2 Sep 79.
Edited and with an Introduction by David Elliott
Designed by David King
Publisher Museum of Modern Art, Oxford, 1979
ISBN 0905836138, 9780905836133
via Bint Bint
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Filed under book | Tags: · 1920s, architecture, art, art history, art theory, avant-garde, communism, composition, constructivism, electricity, formalism, functionalism, politics, productivism, revolution, russia
“The Artist as Producer reshapes our understanding of the fundamental contribution of the Russian avant-garde to the development of modernism. Focusing on the single most important hotbed of Constructivist activity in the early 1920s—the Institute of Artistic Culture (INKhUK) in Moscow—Maria Gough offers a powerful reinterpretation of the work of the first group of artists to call themselves Constructivists. Her lively narrative ranges from famous figures such as Aleksandr Rodchenko to others who are much less well known, such as Karl Ioganson, a key member of the state-funded INKhUK whose work paved the way for an eventual dematerialization of the integral art object.
Through the mining of untapped archives and collections in Russia and Latvia and a close reading of key Constructivist works, Gough highlights fundamental differences among the Moscow group in their handling of the experimental new sculptural form—the spatial construction—and of their subsequent shift to industrial production. The Artist as Producer upends the standard view that the Moscow group’s formalism and abstraction were incompatible with the sociopolitical imperatives of the new Communist state. It challenges the common equation of Constructivism with functionalism and utilitarianism by delineating a contrary tendency toward non-determinism and an alternate orientation to process rather than product. Finally, the book counters the popular perception that Constructivism failed in its ambition to enter production by presenting the first-ever case study of how a Constructivist could, and in fact did, operate within an industrial environment. The Artist as Producer offers provocative new perspectives on three critical issues—formalism, functionalism, and failure—that are of central importance to our understanding not only of the Soviet phenomenon but also of the European vanguards more generally.”
Publisher University of California Press, 2005
Reviews: Paul Wood (Art Journal, 2006), Charlotte Douglas (Modernism/modernity, 2006), Elizabeth Kridl Valkenier (Russian Review, 2006), Patricia Railing (Slavic Review, 2007), Douglas Greenfield (Slavic and East European Journal, 2007), Roann Barris (SECAC Review, 2007).
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