Isbn: 9780300254037 - aleksandr rodchenko: photography in the time of stalin (23 resultados)

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Hardcover. Condición: As New. Estado de la sobrecubierta: As new. 7 3/8" x 10 3/8" 241 pages Aleksandr Rodchenko (1891-1956), a versatile Russian artist and one of constructivism's founders, embraced photography as a medium of revolutionary modernity. Yet his photographic work between the late 1920s and the end of the 1930s exhibits an expansive search for a different pictorial language. Rodchenko, Aleksandr (ilustrador).…

Hardcover. Condición: New. Estado de la sobrecubierta: New. Cloth, dj. New in shrinkwrap.

Hardcover. Condición: Very good. Estado de la sobrecubierta: Very good. Cloth, dj. Minor shelf wear. Else a bright, clean copy.

Hardcover. Condición: Fine. Estado de la sobrecubierta: Fine. First Edition/First Printing. hardcover in dust jacket., no flaws or wear. clean. no markings. no bumps, tears, creases. tight binding. an unused copy.; english text.; xiii-241pp., 55 color and 83 b/w illustrations. Size: 4to - over 9¾" - 12" tall. …

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Hardcover. Condición: new. Hardcover. Through the lens of Aleksandr Rodchenkos photography, a new and provocative understanding emerges of the troubled relationship between technology, modernism, and state power in Stalins 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 (18911956) was a highly versatile Russian artist and one of Constructivisms 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, Rodchenkos photography during this time questioned his own modernist commitments. At the heart of this argument is Rodchenkos infamous 1933 photo-essay on the White SeaBaltic Canal, site of one of the first gulags. Glebovas careful reading of Rodchenkos 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. Through the lens of Aleksandr Rodchenkos photography, a new and provocative understanding emerges of the troubled relationship between technology, modernism, and state power in Stalins Soviet Union Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Condición: New. 2022. Hardcover. . . . . .

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Hardback. Condición: New. 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   "Glebova's book is a valuable addition to the literature on this remarkable and always relevant figure."-Peter Lowe, Russian Art + Culture   Tracing the shifting meanings of photography in the early Soviet Union, Aglaya K. Glebova reconsiders the relationship between art and politics during what is usually considered the end of the critical avant-garde. Aleksandr Rodchenko (1891-1956), a versatile Russian artist and one of Constructivism's founders, embraced photography as a medium of revolutionary modernity. Yet his photographic work between the late 1920s and the end of the 1930s exhibits an expansive search for a different pictorial language.   In the context of the extreme transformations carried out under the first Five-Year Plans, Rodchenko's photography questioned his own modernist commitments. At the heart of this book 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 photography reveals a surprisingly heterodox practice and brings to light experiments in adjacent media, including the collaborative design work he undertook with Varvara Stepanova, Rodchenko's partner in art and life.…

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Condición: New. 2022. Hardcover. . . . . . Books ship from the US and Ireland.

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Hardcover. Condición: Brand New. 256 pages. 10.00x7.00x0.94 inches. In Stock.

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Hardcover. Condición: new. Hardcover. Through the lens of Aleksandr Rodchenkos photography, a new and provocative understanding emerges of the troubled relationship between technology, modernism, and state power in Stalins 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 (18911956) was a highly versatile Russian artist and one of Constructivisms 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, Rodchenkos photography during this time questioned his own modernist commitments. At the heart of this argument is Rodchenkos infamous 1933 photo-essay on the White SeaBaltic Canal, site of one of the first gulags. Glebovas careful reading of Rodchenkos 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. Through the lens of Aleksandr Rodchenkos photography, a new and provocative understanding emerges of the troubled relationship between technology, modernism, and state power in Stalins Soviet Union Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Hardcover. Condición: new. Hardcover. Through the lens of Aleksandr Rodchenkos photography, a new and provocative understanding emerges of the troubled relationship between technology, modernism, and state power in Stalins 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 (18911956) was a highly versatile Russian artist and one of Constructivisms 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, Rodchenkos photography during this time questioned his own modernist commitments. At the heart of this argument is Rodchenkos infamous 1933 photo-essay on the White SeaBaltic Canal, site of one of the first gulags. Glebovas careful reading of Rodchenkos 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. Through the lens of Aleksandr Rodchenkos photography, a new and provocative understanding emerges of the troubled relationship between technology, modernism, and state power in Stalins Soviet Union Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.…

Hardback. Condición: New. 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   "Glebova's book is a valuable addition to the literature on this remarkable and always relevant figure."-Peter Lowe, Russian Art + Culture   Tracing the shifting meanings of photography in the early Soviet Union, Aglaya K. Glebova reconsiders the relationship between art and politics during what is usually considered the end of the critical avant-garde. Aleksandr Rodchenko (1891-1956), a versatile Russian artist and one of Constructivism's founders, embraced photography as a medium of revolutionary modernity. Yet his photographic work between the late 1920s and the end of the 1930s exhibits an expansive search for a different pictorial language.   In the context of the extreme transformations carried out under the first Five-Year Plans, Rodchenko's photography questioned his own modernist commitments. At the heart of this book 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 photography reveals a surprisingly heterodox practice and brings to light experiments in adjacent media, including the collaborative design work he undertook with Varvara Stepanova, Rodchenko's partner in art and life.…

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