Alexander Rodchenko Modern Photography, Photomontage, and Film August 14, 2002 - October 13, 2002 Following the exhibition by Vitaly Komar and Alexander Melamid, the impresarios of the Asian Elephant Art and Conservation Project (closing July 14), BAM/PFA presents the work of another convention-defying Russian artist, Alexander Rodchenko. Rodchenko, along with David Shterenberg, Konstantin Mel’nikov, among others, participated in Paris’s Exposition Internationale des Arts Décoratifs et Industriels Modernes, an exhibition with pavilions showing artworks by international artists and that featured architecture, graphic design and advertising. Zimmerli Journal, 2004, vol. His photography was socially engaged, formally innovative, and … Rodchenko and like-minded artists worked in a wide variety of mediums, including textiles, ceramics, posters, furniture, architecture, and exhibition design. Silver Gelatin Print - 6.5x8.75. Mar 30, 2014 - Aleksander Mikhailovich Rodchenko (5 December [O.S. Impressed by the photomontage of the German Dadaists, Rodchenko began his own experiments in the medium, first employing found images in 1923, and from 1924 on shooting his own photographs as well. It also enabled him to capture unanticipated details of views. Nov 17, 2015 - Explore Chyna Pennells's board "Alexander Rodchenko Research (Photomontage)" on Pinterest. 2. pp. Rodchenko was one of the most versatile Constructivist and Productivist artists to emerge after the Russian Revolution. Alexander Rodchenko: Modern Photography in Soviet Russia (November 24, 1987 to January 31, 1988) The J. Paul Getty Museum (Malibu), November 24, 1987 to January 31, 1988 The Art of Photography: 1839 - 1989 (Sezon Museum of Art) (March 3 to April 1, 1989) Especially prolific in the 1920s following the Russian Revolution, Rodchenko was deeply convicted in unifying aesthetics, politics and everyday life. Rodchenko became one of the leading Russian artists of avant-garde. See more ideas about alexander rodchenko, photomontage, aleksandr rodchenko. Alexander Rodchenko - Actress Julia Solntseva, Producer Alexander Dovzhenko, and Futurist-poet Alexei Kruchenykh, 1930. Rodchenko’s article “The Direction of Contemporary Photography,” for the August 1928 issue of Novye LEF, explains the philosophy behind his aesthetic practice. Alexander Rodchenko (1891-1956), formally a painter, retired from painting in 1921 and became a designer of posters that became iconic of the brief period of favoritism and freedom. Aleksandr Mikhailovich Rodchenko. Works cited: Lavrentiev, Alexander. Alexander Rodchenko Alexander Rodchenko… Inspired by his work in illustration and commercial designs, Rodchenko turned to photography in 1924. Rodchenko believed that his unusual manner of capturing the world could also reveal insights about the structures that govern reality and stimulate social awareness. For two years since 1922, Rodchenko became increasingly involved with photomontages, which he used for designing books and making art for posters. From Glaz Gallery, Alexander Rodchenko, Stairs (1929), 17 × 23 cm. In 1916, Rodchenko’s work was included in a Vladimir Tatlin‘s exposition. Alexander Rodchenko was a revolutionary artist, both politically and aesthetically. In 1928, he wrote Ways of Contemporary Photography, in a declarative form. The event punctuating 1925 for Alexander Rodchenko was his four-month trip to Paris. Rodchenko was one of the most versatile Constructivist and Productivist artists to emerge after the Russian Revolution. The composition is typical of his use of photomontage in the period (the combination of photography and text). Most noted examples of such work are: Girl with Leica, 1934 and Stairs, 1930. Wolf, Erika. Arguably having producing the first ever monochromes, Rodchenko later proclaimed, “I reduced painting to its logical conclusion and exhibited three canvases: red, blue, and yellow. After Barr’s visit, Rodchenko further asserted his position as one of the leaders of avant-garde photography when he became the director of the October group’s photography division. Rodchenko continued to serve as director until his 1932 expulsion; the Party disbanded the organization entirely within the next few months amid their efforts to eliminate independent art organizations. Some elements were integrated in his photography compositions, such as stairs, grids and wires, because Rodchenko liked using such facets. His photographs on Miasnitskaia Street would be published in the magazine Sovetskoe Kino the following year. Credit Line: Ford Motor Company Collection, Gift of Ford Motor Company … Other pages combine snapshots of the two lovers alongside often surprising or humorous juxtapositions: accompanying the line “and again / the walls of the burning steppe / ring and sign in the ear with the two step,” Rodchenko pasted Lily Brik’s face amid images of Western decadence such as a foxtrotting couple, whisky and cigars. Here's the original, a portait of Lilya B… Rodchenko's focus was on graphic design, photography, and photomontage—a filmic medium that combines and … Alexander Rodchenko Modern Photography, Photomontage, and Film. Later in his career Rodchenko became impressed with the photomontage of the German Dadaists and began his own experiments in the medium. While primarily preoccupied with photography, Rodchenko continued to innovate the field of graphic design, most notably through such artworks as the 1924 film poster for Kino Glaz and the 1925 poster for Battleship Potemkin. New York: The Museum of Modern Art, 2005. Some of these letters were published in the publication New Left Front of Arts (Novye LEF), that ran from 1927-1928, and for which Rodchenko often wrote.