Choosing
a particular period from 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)
The particular period that will be discussed is the early 20th
century, and the changing social and cultural forces of that period having an
effect on art, paying close attention to the changes in Germany and Russia. The
end of the First World War, the Russian Revolution and modernism all had a
distinct effect on art and society, including the Bauhaus and Constructivist
movement. The origins and influence of these movements will be examined along
with how they influenced each other.
The Russian Revolution is the collective term given to a series of
Revolutions in Russia from around 1905 to 1917. The first notable revolution
was The February Revolution, taking place in February of 1917 resulting in the
fall of the Russian Empire and a Provisional Government being formed. At this
point Russia was a capitalist country – basically meaning everyone’s money is
his or hers. If you are rich you stay rich, and if you are poor you will stay
poor. This meant there was noticeable gulf in class; you were either very rich
or very poor.
While this was going on; the Bolshevik party who were led by
Vladimir Lenin organized militias of workers into the “Red Party”. The
Bolsheviks wanted to overthrow the government and create a ‘new and better’
Russia where everyone was equal. Money was to be shared and land was to be
shared. Everyone would work to earn money and everyone would be content.
The October Revolution had a profound effect on Russia. The
Bolshevik party led by Lenin overthrew the Provisional Government in St.
Petersburg. Lenin and the Bolsheviks came into power. Civil war ensued between
the Red (Bolshevik) and White (Anti-Bolshevik) army but communism was now
taking spread in Russia. Around this time there was intense artistic
experimentation taking place in Russia, especially in regards to art and design
for post-revolution Soviet Russia.
‘Constructivism. A movement or
ideology in abstract art that originated in Russia… and in the 1920s spread to
the West, where it has subsequently been influential on a wide spectrum of
artists. Constructivism is typically characterised by the use of industrial
materials – such as glass, plastic and standardized metal parts – arranged in
clear formal relationsips… some writers prefer to use the terms ‘Soviet
Constructivism’ [CHILVERS, 2004]
The constructivist movement was in prominence around 1919 and was founded
by Vladimir Tatlin in 1913. It was an ‘abstract movement which focused on art
for the industrial age.’ [ART FORTUNE, 2011] “The constructivists, whose
ideas represent the most sophisticated aspect of the Soviet avant-garde, viewed
the artists as an “engineer” whose duty was to construct “useful objects”, much
like a factory worker while actively participating in the building of a new
society” [PETRIC, 1987; p5]
It was starting to become clear that art had a
major role to play in society and politics in Russia - the most famous political
example probably being El Lissitsky’s “Beat The Whites With The Red Wedge” from
1919 (fig. 1). The piece shows a red wedge piercing a white circular motif. Red
became the symbol of revolution and of the Bolshevik, white was the symbol of
anti-revolutionary forces.
‘When the revolution took place in
Russia in 1917, it did not mean that the Soviet Union with its many components
was immediately formed. A civil war erupted between the communists, the reds,
and the royalists supporting the old regime, the whites. With that in mind,
this becomes a stylized battle plan for the communist victory, rather than just
some abstract geometric design.’ [Art In The Picture, 2012]
So art was influencing politics, politics was
influencing art and both were developing and shaping Russia together.
Russia was becoming more forward thinking and industrialized but
at the same time it kept Lenin’s views on equality, and creating the same
product for all. ‘Treating workers' housing
in the same way as they would bourgeois apartments’ [CAMPBELL; 1971]
New technology was something the
constructivists were enthusiastic about; this is exemplified by Rodchenko’s self-portrait
(fig. 2) using elements of new technology such as photography and negatives. Similarly
Russian filmmaking was becoming more avant-garde and groundbreaking with “October:
Ten Days That Shook The World” by Sergei Eisenstein. It ‘demonstrates his
ground-breaking artistry utilizing “a kind of montage that helped him to
construct epic works which promoted the twin-edged theme of the masses entering
history and history entering the masses’ [ROSENSTONE, 2006]
The Eiffel Tower itself, built in 1889 is a cultural symbol of the
mass urbanization and modernization, which was taking place in Europe at the
time, stemming from the late 19th century. It was this urbanization
and idea of ‘constructing society’, which was noted by the constructivists who
also wanted to be forward thinking and emulate, and maybe surpass those
heights. An example of this is Tatlin’s “Monument to the Third International”
in 1919 (fig. 3).
‘Designed to be higher than the
other great steel icon of modernity, the Eiffel Tower in Paris… Tatlin’s tower
quickly became a legend internationally, even though (or because) it was never
built. It seemed to represent the ultimate daring fashion of abstract form,
modern technology and revolutionary politics. It may have influenced Gropius’s
Monument to the March Dead of 1920’ [KENNEDY, 2006; P254]
Gropius later founded the Bauhaus school, so developments in
Constructivism were having an inspiring effect on one of the most pioneering
architects of modern times and possibly the foundations of Bauhaus’ birth.
After Germanys defeat in the First World War, the German monarchy
fell. A new more liberal Weimar Republic took over and came to power in 1919. Similar
to how the Russian Revolution overthrew the previous monarchy and paved the way
for new beginnings. Along with a changing Germany, the censorship of the past
was abolished, allowing a period of intense artistic experimentation, something
which was suppressed in previous years.
This idea of change and “function before form” was the basis of
the birth of the Bauhaus school, along with probably being inspired by the
developments in Russia and the constructivist movement. Bauhaus at the time
literally stood for “house of construction” and was formed by Walter Gropius in
Weimar. It has had a profound influence on architecture, graphic design,
interior design and many other disciplines of art. Examples such as Bauhaus
Journal 1 (1926) designed by Herbert Bayer illustrate the influence Bauhaus not
only had on graphic design but architecture.
Showing ‘Gropius’ iconic buildings for the Dessau Bauhaus: a potent
image’ [BARTRAM, 2004; P56] along with the grid system they incorporated to
layout, which is a staple of contemporary graphic design. Bauhaus had the same
ethos of the constructivist artists - an idea of shaping and constructing a new
society.
The Bauhaus was one of the first schools of art and design to
teach multi-disciplined artists in a modern manner. This makes it very similar
to Vkhutemas, the Russian state art and technical school founded in 1920, as
they both trained artists in a modern manner, lecturing them on what we
nowadays regard as basic principles; such as colour theory, layout etc. Both
schools were also born out of a political and cultural change in their respective
countries, both had very well renowned artists lecturing at the schools,
artists such as Walter Gropius, Hannes Meyer, El Lissitzky, Alexander Rodchenko
and Varvara Stepanova. Both schools also flourished at the same period of time.
Interestingly, both schools also worked very closely together and
were definitely in regular contact - the avant-garde post-revolution Russian
art and design clearly influenced the birth of Bauhaus in the first place. El
Lissitzky, a lecturer at Vkhutemas had work ‘shown in the 1922 First Russian
Art Exhibition in Berlin. Subsequently he had contact with the Dadaists, De
Stijl and Bauhaus artists’ [GRAY, 1962]
Bauhaus had a major influence on many different fronts but it was
to be an abrupt end for the school.
‘By 1931 the
Nazi party dominated the Dessau city council, and in 1932 cancelled all Bauhaus
faculty contracts. Mies van der Rohe again moved the school to an empty factory
in Berlin, but continued Nazi harassment made the continuance impossible. The
Bauhaus closed on August 10, 1933.’ [ANNESERDESIGN, 1999]
Similarly, Vkhutemas and
the Russian avant-garde movement were both also damaged significantly by the
ultimate rejection from Stalin and his regime. The more kitsch style of
socialist realism was in ascension and unfortunately the ground breaking
artistic movements in both Germany and Russia were pretty much disbanded
because of social and political changes. Just how both were pretty much born
out of political and social changes.
It’s also clear that the social changes in Russia and the artistic
Constructivist movements in Russia had a clear influence on the birth of
Bauhaus and the teachings there. Both were strikingly alike. A number of
Constructivists even taught at Bauhaus and translated Vkhutemas teachings to
the Bauhaus. ‘The Vkhutemas Art School was as experimental and innovative as
the Bauhaus.’ [BARTRAM, 2004; P47] It’s hard to be on an art course and not
hear about Bauhaus but rather unfairly very few would say they’re aware of
Vkhutemas and in lesser terms, constructivism, especially so in the Western
world.
(Fig. 1)
(Fig. 2)
(Fig. 3)
BIBLIOGRAPHY
BIBLIOGRAPHY
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