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 artists 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 more radical artists argued that the
religious and spiritual functions that had long been the prerequisites of
painting and sculptur were irrelevant to a new society founded on industrial
streamlining and scientific rationality.’
(Lavrentiev, A, 2002, p12)
Constructivist artists and designers were
industrious and looked ahead, they 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.' (History of
Graphic Design - Russian Revolution, 2011).
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.' (History of Graphic Design - Russian Revolution, 2011).
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.' (History of Graphic
Design - Russian Revolution, 2011). 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." (Eiffel
Tower
Vladimir Tatlin was an
important member of the Russian avant-garde and also an important member of the
constructivist movement. All countries were striving and almost competing
to be the best and most revolutionary country.
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.'
(History of Graphic Design - Russian Revolution, 2011). This kind of art was seen to have more of a
purpose than when artists were suppressed by the aristocracy in their previous
life.
After the Great War in Germany
in 1919, the Weimar
Republic 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
http://eiffel-tower.how-old-is-this.com/
Lavrentiev, A. (ed) (2002) 'Aleksandr Rodchenko Experiments for the Future' New York, Museum of Modern Art
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
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