Aleksandr Rodchenko : photography in the time of Stalin / Aglaya K. Glebova.
Material type: TextPublisher: New Haven : Yale University Press, [2022]Description: xiii, 241 pages : illustrations (some color) ; 27 cmContent type:- text
- still image
- unmediated
- volume
- 9780300254037
- 0300254032
- Rodchenko, Aleksandr Mikhaĭlovich, 1891-1956. Works. Selections
- Rodchenko, Aleksandr Mikhaĭlovich, 1891-1956 -- Criticism and interpretation
- Rodchenko, Aleksandr Mikhaĭlovich, 1891-1956
- Photography -- Soviet Union -- History
- Art -- Political aspects -- Soviet Union -- History
- Art -- Political aspects
- Photography
- Soviet Union
- Fellow
- Axel Springer Fellow
- Class of Fall 2017
- TR647.R63 G54 2022
Item type | Current library | Collection | Call number | Status | Notes | Date due | Barcode | |
---|---|---|---|---|---|---|---|---|
single unit book | HAC Library - Holdings of the American Academy in Berlin HAC – 1st floor – Library Room – Open Stacks | F (Affiliated) | F:TR647.R63 G54 2022 (Browse shelf(Opens below)) | Available | Hardcover | 2023-7406 |
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Includes bibliographical references (pages 221-231) and index.
Introduction. Rodchenko's contemporaneity -- Perspectives on the collective -- The socialist face -- Still nature -- Engineered chaos -- The photographer's hand.
"Through the lens of Aleksandr Rodchenko's photography, a new and provocative understanding emerges of the troubled relationship between technology, modernism, and state power in Stalin's Soviet UnionTracing the shifting meanings of photography in the early Soviet Union, Aglaya K. Glebova reconsiders the relationship between art and politics during what is usually considered the end of the critical avant-garde. Aleksandr Rodchenko (1891-1956), a versatile Russian artist and one of Constructivism's founders, embraced photography as a medium of revolutionary modernity. Yet his photographic work between the late 1920s and the end of the 1930s exhibits an expansive search for a different pictorial language.In the context of the extreme transformations carried out under the first Five-Year Plans, Rodchenko's photography questioned his own modernist commitments. At the heart of this book is Rodchenko's infamous 1933 photo-essay on the White Sea-Baltic Canal, site of one of the first gulags. Glebova's careful reading of Rodchenko's photography reveals a surprisingly heterodox practice and brings to light experiments in adjacent media, including the collaborative design work he undertook with Varvara Stepanova, Rodchenko's partner in art and life"--Provided by publisher.
Aglaya K. Glebova is associate professor in the History of Art Department at the University of California, Berkeley.
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