Revolution in Photography
The Russian avant-garde of the twentieth century is a unique phenomenon not only in Russian, but in world culture. The amazing creative energy accumulated by the artists of this great age is still providing nourishment for artistic culture today and all who have dealings with the art produced by Russian Art Nouveau.
Alexander Rodchenko was indisputably one of the main generators of creative ideas and the general spiritual aura of the age. Painting, design, theatre, cinema, typography and photography, all areas invaded by the powerful talent of this strong, handsome man, were transformed, opening up radically new paths of development.
In the 1920s in each new photographic series Rodchenko set new tasks and produced manifestoes on what photography and life would be like after they had been transformed by the Constructivist artistic principle.
In the 1930s, particularly towards the end, exhausted by criticism and persecution, he tried to analyse life and artistic practice, his own included, the evolution of which was determined largely by the developing aesthetics of socialist realism. Incidentally, in the whole history of Russian photography of the first half of the twentieth century Alexander Rodchenko is the only person who, thanks to his printed articles and diaries, left unique records, artistic reflections by a photographer-thinker who witnessed historical cataclysms, which generated within him a tragic conflict of conscious premises and the unconscious drive to create.
Tired of the constant revolutionary transformations that produced a reality far from the ideals which had inspired his early period of creativity, he wrote in his diary on 12 February 1943: “Art is service of the people, but the people are being led goodness knows where. I want to lead the people to art, not use art to lead them somewhere. Was I born too early or too late? Art must be separate from politics …”
|Contents||316 vintage photographs|
|Size of Works||Different sizes (See List of Works)|
|Rental Conditions||The borrower will be in charge of:|
-The transport from and to Moscow
-The insurance, nail to nail
-Travel and accommodation costs for the Director of the MAMM and couriers
-Travel and accomodation of the curator for the installation and diassembling