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Aleksandr Rodchenko

Photography in the Time of Stalin
Book Hero Magic crafted this summary to help describe this book. While it's new and still learning, it may not be perfect - your feedback is welcome! Summary
Aleksandr Rodchenko explores the complex intersections of technology, modernism, and state power in Stalin's Soviet Union through the photographic works of the influential Russian artist and Constructivism founder Aleksandr Rodchenko. Author Aglaya K. Glebova traces the evolving significance of photography during a period marked by profound political and social upheaval, offering a nuanced re-examination of Rodchenko's oeuvre from 1928 to the late 1930s. Central to the discussion is Rodchenko’s 1933 photo-essay on the White Sea–Baltic Canal, a pivotal project entwined with the early gulags. The book also highlights his collaborative design work with Varvara Stepanova, revealing a rich and diverse artistic practice beyond photography.
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Format: Hardback
$11999
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Book Hero Magic created this recommendation. While it's new and still learning, it may not be perfect - your feedback is welcome! IS THIS YOUR NEXT READ?

This book is ideal for students and scholars of art history, photography, Russian and Soviet studies, modernism, and political art. It appeals to readers interested in the cultural history of the early Soviet Union and the complex role of artists under authoritarian regimes.

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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 Union

Book Hero Magic formatted this description to make it easier to read. While it's new and still learning, it may not be perfect - your feedback is welcome! Description

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 Union.

Tracing the shifting meanings of photography in the early Soviet Union, Aglaya K. Glebova revises the relationship between art and politics during what is usually considered the end of the critical avant-garde. Aleksandr Rodchenko (1891–1956) was a highly versatile Russian artist and one of Constructivism’s founders. His photographic work between 1928, when Stalin rose to power, and the late 1930s reveals a wide-ranging search for a different pictorial language in the context of the extreme transformations carried out under the Five-Year Plans.

In response to forced modernization, Rodchenko’s photography during this time questioned his own modernist commitments. At the heart of this argument 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 oeuvre yields a more diverse practice than has been generally acknowledged and brings to light new aspects of his work in adjacent media, including the collaborative design work he undertook with Varvara Stepanova.

Book Hero Magic summarised reviews for this book. While it's new and still learning, it may not be perfect - your feedback is welcome! HOW HAS THIS BEEN REVIEWED?

Praised as a valuable and indispensable contribution to Russian art history and the study of modernism, Glebova’s work has been acclaimed for its detailed analysis and revealing interpretations. Reviewers highlight the book's unflinching examination of Rodchenko's more challenging 1930s period and its eloquent readings that enrich understanding of his legacy. The book is recognised for deepening insights into the intersections of art, politics, and life in a difficult era. It co-won the Modernist Studies Association's 1st Book Prize.

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Book Details

INFORMATION

ISBN: 9780300254037

Publisher: Yale University Press

Format: Hardback

Date Published: 22 November 2022

Country: United States

Imprint: Yale University Press

Illustration: 55 color + 83 b-w illus.

Audience: Professional and scholarly

DIMENSIONS

Width: 178.0mm

Height: 254.0mm

Weight: 250g

Pages: 256

About the Author

Aglaya K. Glebova is associate professor in the History of Art Department at the University of California, Berkeley.

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