Frases de Alexander Rodchenko

Aleksandr Mikhailovich Rodchenko foi um artista plástico, escultor, fotógrafo e designer gráfico russo, um dos fundadores do construtivismo russo e design moderno russo. Rodchenko era casado com a artista Varvara Stepanova.

Rodchenko foi um dos artistas mais versáteis do Construtivismo a emergir após a Revolução Bolchevique. Trabalhou como artista plástico e designer gráfico antes de girar para a fotografia e a montagem fotográfica. Sua fotografia era socialmente engajada, inovadora, e oposta ao retrato estético da época. Ciente da necessidade de uma série documental de fotografia analítica, fotografou freqüentemente seus assuntos em ângulos ímpares - geralmente muito de acima de ou abaixo - para chocar o espectador. Wikipedia

✵ 23. Novembro 1891 – 3. Dezembro 1956

Alexander Rodchenko: 3 citações 0 Curtidas

Alexander Rodchenko: Frases em inglês

“I reduced painting to its logical conclusion and exhibited three canvases: red, blue and yellow. I affirmed: it's all over. Basic colors. Every plane is a plane and there is to be no representation.”

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Alexander Rodchenko

Quote in: 'The Death of Painting'; from the MoMA-website: Interactives: texts https://www.moma.org/interactives/exhibitions/1998/rodchenko/texts/death_of_painting.html
Rodchenko is looking back: in 1921 he executed what were arguably some of the first true monochromes (artworks of one color; source, Wikipedia:Rodchenko)

“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.”

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Alexander Rodchenko

Quoted on Wikipedia:Rodchenko

“[my goal is] to photograph not a factory but the work itself from the most effective point of view.... in order to show the grandness of a machine, one should photograph not all of it but give a series of snapshots.”

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Alexander Rodchenko

Quote, 1930: from Rodchenko lecture at the October group's meeting; as quoted by Margarita Tupitsyn in Chapter 'Fragmentation versus Totality: The Politics of (De)framing', in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 486
the issue was not to take 'photo pictures' of the entire object but to make 'photo stills' of characteristic parts of an object