Alexander Rodchenko Quotes

Aleksander Mikhailovich Rodchenko was a Russian artist, sculptor, photographer and graphic designer. He was one of the founders of constructivism and Russian design; he was married to the artist Varvara Stepanova.

Rodchenko was one of the most versatile Constructivist and Productivist artists to emerge after the Russian Revolution. He worked as a painter and graphic designer before turning to photomontage and photography. His photography was socially engaged, formally innovative, and opposed to a painterly aesthetic. Concerned with the need for analytical-documentary photo series, he often shot his subjects from odd angles—usually high above or down below—to shock the viewer and to postpone recognition. He wrote: "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." Wikipedia  

✵ 23. November 1891 – 3. December 1956
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Alexander Rodchenko: 3 quotes0 likes

Famous Alexander Rodchenko Quotes

“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.”

Alexander Rodchenko

Quote in: &#x27;The Death of Painting&#x27;; from the MoMA-website: Interactives: texts https://www.moma.org/interactives/exhibitions/1998/rodchenko/texts/death_of_painting.html <br class="br">Rodchenko is looking back: in 1921 he executed what were arguably some of the first true monochromes (artworks of one color; source, 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.”

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

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