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Which clippings match 'Scottish' keyword pg.1 of 1
03 OCTOBER 2011

Rodchenko's revolution: a socialist with true vision

"Painter, photographer, filmmaker, set designer, teacher, metalworker, [Alexander Rodchenko] revelled in the new freedoms thrown up by the Russian Revolution and was fiercely committed to liberating art for the masses.

Whether it was his blueprint for the ideal working man's club showcased at the Paris Exhibition of 1925, his illustrated covers for engineering manuals or his pioneering film poster for Sergei Eisenstein's classic Battleship Potemkin, Rodchenko's experimentation embodied the spirit of the early Soviet era.

But just as he thrived in the intellectual ferment of the Lenin years, like so many other artists–cum–revolutionaries of the period he was to fall foul of Stalin's increasingly paranoid and brutal regime.

Today his influence lives on, not only inspiring modern–day photographers like Martin Parr, but his designs are perhaps best known for the art school chic they afford to the covers of records by the Scottish indie band Franz Ferdinand."

(Arifa Akbar and Jonathan Brown, 2 January 2008, The Independent)

Alexander Rodchenko (1925). "Lengiz books on all subjects!"



19252004Alexander Rodchenkoanimationart school • artist-cum-revolutionary • bandBattleship Potemkin (1925)design formalism • engineering manuals • figures in spacefilm posterfilmmakerFranz Ferdinandhomageidealism • illustrated covers • indie band • Joseph Stalin • liberating art for the masses • Martin Parr • metalworker • modernist aestheticsmotion graphicsmusic videopainter • Paris Exhibition • photographerphotomontagepioneeringposter design • record cover • regimerevisionRussian artistRussian constructivismRussian design • Russian Revolution • Scottishsequence designSergei Eisenstein • set designer • Soviet era • Take Me Out • typographyvisual communicationvisual designvisual literacyVladimir Lenin


Simon Perkins
04 JUNE 2006

Created Personal Landscapes Through Movement, Storytelling, Photography And Video

"Coastal Mappings [was] a large–scale community [dance/art] project [run from] in and around Dunedin, New Zealand [in 2005]. In Coastal Mappings, people in the last months of their lives joined cancer survivors, family members and other interested people in explorations of Pakeha myths (by European–settler descendents) and Maori myths (by descendents of the crews of the first canoes, first inhabitants of New Zealand). Together, we created personal landscapes through movement, storytelling, photography and video.
In [the project], we were working with different kinds of cultural contact, and honoring the multiple carriers and transmitters of stories was part of our agenda. Many of the Maori myths and stories that intertwine so deeply with the places of New Zealand weren?t told to and known to the predominantly Pakeha (white European–heritage) hospice participants when they were children, at least not to the older ones who didn't receive bicultural schooling. When we were creating sense memories of home places and of the stories we associated with them, many stories they shared were private and personal. They spoke about growing up without a strong storytelling practice, quite alienated from Celtic and other storytelling traditions their Irish, Scottish and Welsh parents or ancestors grew up with, and about making up their own stories about the land."
(Petra Kuppers, Otago University, Aotearoa)



ancestryAotearoa New Zealandart • Coastal Mappings • Community Arts Network • danceGermany • Irish • Maorimyth • Otago University • ScottishSouth Islandstorystorytelling • University of Otago • Welsh

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