Essay

Choosing a particular period from the 1800 to the present, in what ways has art or design responded to the changing social and cultural forces of that period?  (2 Specific examples).

  At the beginning of the 20th century, Russia saw a great development in art and design, especially graphic design due to the changing social and cultural forces affecting that period.  1917 brought with it the Russian Revolution, also known as the October revololution, which caused the downfall of the Russian empire, because of this there was a great politcal change. Vladimir Lenin, member of the Bolshevik/red party, led the Communist Society to victory along with the Soviet Union.  Communism brought equality and the desired effect was for everyone to be happy and share similar opportunites.  The new Soviet Union allowed full and equal voting rights for women which was just one of the radical changes of the era. 

 

With communism sweeping through Russia it is said that there was 'New art for a new society.'  In 1919, Constructivism begins, Rodchenko being one of the best-known artist for this philosophy.  It is said that the name 'Constructivism' came about when Malevich used it as a derisive term against some of Rodchenkos work but now it has a new meaning.    Constructivism was against autonomous art and believed in art for social purposes.  The Constructivist artists were in favour of the Bolshevik Party, also known as the red party, and produced street artwork to celebrate and communicate the October Revolution.  An influential piece of graphic design by El Lissitzky 'Beat the Whites with the Red Wedge' 1919, is still considered a radical design today.  The artwork represents the workers and bolshevik party working together as the red wedge trying to penetrate and push out the White party and Kerenski, which at the time was Capitalist Russia. 

'Lissitzky felt that Communism and social engineering would create a new order and the new technology would provide for society's needs. Lissitzky called himself a constructor rather than an artist or designer, and he worked to bring a unity between art and technology, by constructing new objects for mankind.'

  Lissitzky ventured to postwar berlin in 1921 as it was an ideal place to meet other young constructivists.  It was in Germany where Lissitzky came into contact with de Stijl, the Bauhaus, dadaists and other constructivists 'With Lissitzky's energy and willingness to experiment with the mediums; photomontage, printmaking, graphic design, and painting; he became the voice of suprematism and constructivism ideas to Western Europe.'  Being in Berlin gave him the chance to try all of these new techniques as for in Russia, there were shortages throughout the country, after World War One, of paper, type and ink which made all items much more expensive.  'Lissitzky's time in Berlin allowed him to spread the constructivist message through his frequent visits to the Bauhaus where he wrote articles and lectured.'  Alexander Rodchenko was also a constructivist designer who too experimented with new technologies such as photography and photo-montage. Before constructivism there were many Russian artistic experimental groups.  Cubo-Futurism, Rayonnism and suprematism.  When Russia went into civil war it was during this period that art in Russia developed and grew.  It then started to have effect on international design and typography.

  Modernism in architecture has a lot in common with constructivism as it came about during the same period.  Artists such as Alexander Rodchenko, Varvara Stepanova and Vladimir Tatlin were a 'socially-oriented group who wanted this art to be absorbed in industrial production.'  All the cities were racing to become a modern city. ‘Morris Koechlin’ had a vision of the Eiffel tower and this marked the beginning of modernism back in 1889.  The tower represented the new era with new production methods and as it was so radically different the public disliked it greatly. "And during twenty years we shall see, stretching over the entire city, still thrilling with the genius of so many centuries, we shall see stretching out like a black blot the odious shadow of the odious column built up of riveted iron plates."  Despite this the Eiffel tower is still today considered revolutionary piece of structural art. 

  Vladimir Tatlin was an important member of the Russian avant-garde and also an important member of the constructivist movement.  Tatlin designed ‘Tatlin’s Tower’ also known as the huge Monument to the Third International.  The tower was designed in 1920 to excel the Eiffel tower, being a third of the size taller.  The overall design was way ahead of Tatlin’s time, it was to be made from a steel and iron structure of two inner spirals, based on three building blocks which all were to rotate at different speeds.  The first, a cube which would rotate once a year, the second to rotate once a month and it was shaped as a pyramid and the third was to spin once every day and that was to be a cylinder and the whole thing was to be covered in windows.  The tower became legendary around the world, even though the plans were never put into fruition, it reflected the raw fashion of the time, the abstract forms and changing leaderships.  'The Constructivists rejected "art" and instead became devoted to industrial design, Artists like Tatlin and Rodchenko turned away from sculpture and painting to store design, graphic design and photojournalism.' http://anneserdesign.com/Constructivism.html

  After the Great War in Germany in 1919, the Weimar Republic was brought in to lead the country and bring it back from the failure of the first World War.  As this new leadership was more lax it meant the old regime was forgotten which made way for new and fresh idea's.   'Bauhaus' means House of Construction' a modern art school that taught what we view today as basic design principles.  The School was built on the idea of 'function before form' and the Bauhaus had the same outlook as the constructivist artists and looked ahead.  The Bauhaus had a very simple style, function was extremely important and they knew that mass production could work in harmony with art and design.  Mass-production meant that they could earn more money and stay on par with England.  Unfortunately Nazi Germany saw it fit to close the school in 1933 as it was viewed (along with many other things) as opposition and resistance.  Many of the artists fled or were exiled by the new regime.  However the principles and the style of the bauhaus lived through those who survived and consequently had a considerable influence in Western Europe, the United States, Canada and Israel.

  Similarly in 1920s Moscow, Vkhutemas was founded.  Vkhutemas was an art school that was very similar to the Bauhuas, both schools were the first modern art school's teaching traditional methods combined with modern technology, architecture, industrial design, basic principles and colour theory.  Both schools were leaders of the avant-garde style and although Vkhutemas was bigger than the Bauhaus, and on the same level, it was kept quiet and unfortunately is not as well known in Western civilization .  The Bauhaus was inspired by Russian Constructivist art and design before it had even opened it's doors.

  In conclusion the Russian Revolution and First World War had great effect on art and design.  Without a revolution there would have been no Constructivism or Suprematism.  Without World War the Bauhaus would not have had to close.  The Bauhaus being one of the best schools for art globally, this was a massive disadvantage towards modern design in europe.

Bibliography


http://anneserdesign.com/Constructivism.html
http://en.wikipedia.org/wiki/Russian_Revolution
http://en.wikipedia.org/wiki/Constructivist_architecture
http://www.tate.org.uk/modern/exhibitions/rodchenkopopova/roomguide/room1.shtm


Tatlins Tower, Norbert Lynton


From Surface to Space Malevich and early Modern Art,


Russian Graphic Design 1880-1917, Mikhail Anikst, Elena Chernevich (1990) Blenheim Walk Library


Stenberg Brothers:  Constructing a Revolution in Soviet Design./ Ross, Barbara (ed) (1997) 709.47 Blenheim Walk Library


Art in Revolution: Soviet Art and Design since 1917/ Arts Council (1971) 709.47 Blenheim Walk Library


Alexander Rodchenko: Revolution in Photography,/ Petrova, Anna (ed.) & Connellan, Lise (ed.) (2008) 779ROD