Alexander Rodchenko

Aleksander Mikhailovich Rodchenko was a Russian artist, sculptor, photographer and graphic designer. He was one of the founders of constructivism and Russian design; 


Wait, what is Constructivism? So glad you asked young Paul-randian.
Constructivism was a philosophy that originated in Russia beginning in 1919, which was a rejection of the idea of autonomous art in favour of art as a practice for social purposes. Constructivism had a great effect on modern art movements of the 20th century, influencing major trends such as Bauhaus and the De Stijl movement. It has major impacts on architecture, graphic and industrial design, theatre, film, dance, fashion and to some extent music. In other words: No more art for art sake.


Constructivism as theory and practice was derived largely from a series of debates at INKhUK (Institute of Artistic Culture) in Moscow, from 1920–22. After deposing its first chairman for his 'mysticism', The First Working Group of Constructivists (including Rodchenko) would develop a definition of Constructivism as the combination of faktura: the particular material properties of an object, and tektonika, its spatial presence. Initially the Constructivists worked on three-dimensional constructions as a means of participating in industry:Later the definition would be extended to designs for two-dimensional works such as books or posters, with montage and factography becoming important concepts.


The book designs of Rodchenko, El Lissitzky and others such as Solomon Telingater and Anton Lavinsky were a major inspiration for the work of radical designers in the West, particularly Jan Tschichold. Many Constructivists worked on the design of posters for everything from cinema to political propaganda: the former represented best by the brightly coloured, geometric posters of the Stenberg brothers (Georgii and Vladimir Stenberg), and the latter by the agitational photomontage work of Gustav Klutsis and Valentina Kulagina.


Back to Rodchenko
Rodchenko was one of the most versatile Constructivist to emerge after the Russian Revolution. He worked as a painter and graphic designer before turning to photomontage and photography. His photography was socially engaged, formally innovative, and opposed to a painterly aesthetic. Concerned with the need for analytical-documentary photo series, he often shot his subjects from odd angles—usually high above or below—to shock the viewer and to postpone recognition. He wrote: "One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again."


In 1921, Russian avant-garde artist Alexander Rodchenko executed what were arguably some of the first true monochromes (artworks of one color), and proclaimed "I reduced painting to its logical conclusion and exhibited three canvases: red, blue, and yellow. I affirmed: this is the end of painting." These paintings were first displayed in the 5x5=25 exhibition in Moscow. For artists of the Russian Revolution, Rodchenko's radical action was full of utopian possibility. It marked the end of easel painting – perhaps even the end of art – along with the end of bourgeois norms and practices. It cleared the way for the beginning of a new Russian life, a new mode of production, a new culture.

In 1921 he became a member of the Productivist group, which advocated the incorporation of art into everyday life. He gave up painting in order to concentrate on graphic design for posters, books, and films. He was deeply influenced by the ideas and practice of the film-maker Dziga Vertov, with whom he worked intensively in 1922.

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. His first published photomontage illustrated Mayakovsky's poem, "About This", in 1923.

Much of the work of 20th century graphic designers is a direct result of Rodchenko's earlier work in the field. His influence has been pervasive enough that it would be nearly impossible to single out all of the designers whose work he has influenced. American conceptual artist Barbara Kruger owes a debt to Rodchenko's work.

His 1924 portrait of Lilya Brik has inspired a number of subsequent works, including the cover art for a number of music albums. Among them are influential Dutch punk band The Ex, which published a series of 7" vinyl albums, each with a variation on the Lilya Brik portrait theme, the cover of Mike + the Mechanics album Word of Mouth, and the cover of the Franz Ferdinand album You Could Have It So Much Better. The poster for One-Sixth Part of the World was the basis for the cover of "Take Me Out", also by Franz Ferdinand.

Dziga Vertov

Since, Cinema Verite is my mopus operandi, let's start this blog with Dziga Vertov.


David Kaufman better known as Dziga Vertov was a Soviet pioneer documentary and news reel director and cinema theorist. His filming practices and theories influenced the Cinéma vérité style of documentary moviemaking.


Wait, what is Cinema Verite?


Cinéma vérité "truthful cinema" is a style of documentary filmmaking. Cinéma vérité can involve stylized set-ups and the interaction between the filmmaker and the subject, even to the point of provocation. Some argue that the obvious presence of the filmmaker and camera was seen by most cinéma vérité filmmakers as the best way to reveal the truth in cinema. The camera is always acknowledged, for it performs the raw act of filming real objects, people, and events in a confrontational way. The filmmaker's intention was to represent the truth in what he or she was seeing as objectively as possible, freeing people from any deceptions in how those aspects of life were formerly presented to them. From this perspective, the filmmaker should be the catalyst of a situation. Few agree on the meanings of these terms, even the filmmakers whose films are being described.


A Quebec director Pierre Perrault sets situations up, and then films it, for example in his film Pour la suite du monde where he asked old people to fish for whale. The result is not a documentary about whale fishing; it is about memory and lineage. In this sense cinéma vérité is concerned with anthropological cinema, and with the social and political implications of what is captured on film. How a filmmaker shoots a film, what is being filmed, what to do with what was filmed, and how that film will be presented to an audience, all were very important for filmmakers of the time.

Back to Vertov
Vertov is known for many early writings, mainly while still in school, that focus on the individual versus the perceptive nature of the camera lens, which he was known to call his "second eye". 


1917, at the age of 22, Vertov began editing for Kino-Nedelya (the Moscow Cinema Committee's weekly film series, and the first newsreel series in Russia), n 1919, Vertov compiled newsreel footage for his documentary Anniversary of the Revolution; in 1921 he compiled History of the Civil War. The so-called "Council of Three," a group issuing manifestoes in LEF, a radical Russian newsmagazine, was established in 1922; the group's "three" were Vertov, his (future) wife and editor Elizaveta Svilova, and his brother and cinematographer Mikhail Kaufman. Vertov's interest in machinery led to a curiosity about the mechanical basis of cinema.

Vertov promoted the concept of kino-pravda, or film-truth, through his newsreel series. His driving vision was to capture fragments of actuality which, when organized together, showed a deeper truth which could not be seen with the naked eye. In the "Kino-Pravda" series, Vertov focused on everyday experiences, eschewing bourgeois concerns and filming marketplaces, bars, and schools instead, sometimes with a hidden camera, without asking permission first.

The episodes of "Kino-Pravda" usually did not include reenactments or stagings (one exception is the segment about the trial of the Social Revolutionaries: the scenes of the selling of the newspapers on the streets and the people reading the papers in the trolley were both staged for the camera). The cinematography is simple, functional, unelaborate — perhaps a result of Vertov's lack of interest in either "beauty" or "art". Twenty-three issues of the series were produced over a period of three years; each issue lasted about twenty minutes and usually covered three topics. The stories were typically descriptive, not narrative, and included vignettes and exposés, showing for instance the renovation of a trolley system, the organization of farmers into communes, and the trial of Social Revolutionaries; one story shows starvation in the nascent Marxist state. Propagandistic tendencies are also present, but with more subtlety, in the episode featuring the construction of an airport: one shot shows the former Czar's tanks helping prepare a foundation, with an intertitle reading "Tanks on the labor front".

Vertov clearly intended an active relationship with his audience in the series — in the final segment he includes contact information — but by the fourteenth episode the series had become so experimental that some critics dismissed Vertov's efforts as "insane".

The term kino pravda, though it translates as "film truth", is not to be confused with the cinéma vérité movement in documentary film, which also translates as "film truth".

Dziga Vertov believed his concept of Kino-Glaz, or "Cine Eye" in English, would help contemporary man evolve from a flawed creature into a higher, more precise form. He compared man unfavorably to machines: “In the face of the machine we are ashamed of man’s inability to control himself, but what are we to do if we find the unerring ways of electricity more exciting than the disorderly haste of active people. I am an eye. I am a mechanical eye. I, a machine, I am showing you a world, the likes of which only I can see" Dziga was quoted as saying.


Whereas Sergei Eisenstein (the guy responsible for Battleship Potemkin) viewed his montage of attractions as a propaganda tool through which the film-viewing masses could be subjected to “emotional and psychological influence”, Vertov believed the Cine-Eye would influence the actual evolution of man, “from a bumbling citizen through the poetry of the machine to the perfect electric man.


Vertov believed film was too “romantic” and “theatricalised” due to the influence of literature, theater, and music, and that these psychological film-dramas “prevent man from being as precise as a stop watch and hamper his desire for kinship with the machine.” He desired to move away from “the pre-Revolutionary ‘fictional’ models” of filmmaking to one based on the rhythm of machines, seeking to “bring creative joy to all mechanical labour” and to “bring men closer to machines.”


Vertov's cinema success continued into the 1930s. In 1931, he released Enthusiasm: Symphony of the Donbass, an examination into Soviet miners. Enthusiasm has been called a 'sound film', with sound recorded on location, and these mechanical sounds woven together, producing a symphony-like effect.
Three Songs about Lenin looked at the revolution through the eyes of the Russian peasantry.
 Lullaby, perhaps the last film in which Vertov was able to maintain his artistic vision, was released in 1937