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| Author(s): |
Erika Cazzonatto Zerwes
Total Authors: 1
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| Document type: | Master's Dissertation |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Filosofia e Ciências Humanas |
| Defense date: | 2008-10-24 |
| Examining board members: |
Helouise Costa;
Silvana Barbosa Rubino
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| Advisor: | Iara Lis Franco Schiavinatto |
| Abstract | |
This study intents to analyze the photographs made by the Russian constructivist Aleksandr Rodchenko from 1924 to 1930, in its inner conformities and the relation between his images and his political engagement. To him, art had an important role in the construction of society. It would be done with a revolutionary photographic aesthetics which demanded from the observer an active posture that would create a new man. This new man became known as the New Soviet Man, a utopist notion that was shared by the Russian avant-garde. From his knowledge of formalist and futurist theories and the LEF group, founded by the poet Mayakovsky in 1923, Rodchenko pioneered in the construction of a new visuality which according to him was more coherent to the modern world. In these six years, he committed himself to the reinvention of photographic making and language, exploring its technical singularity. (AU) | |