Родченко [Маргарита Мастеркова-Тупицына] (pdf) читать постранично, страница - 12

Gan, “O sovremennykh khudozhestvennykh gruppirovkakh”, Teatralnaya
Moskva, No 35, 1922, 7.
2 Ibid.
3 Ibid.
4 Kazimir Malevich, “Suprematism”, from the catalogue of the 10th state exhibition
Non-Objective Art and Suprematism, in Kazimir Malevich: statyi, manifesty,
teoreticheskie sochineniia i drugie raboty. 1913–1929, vol. 1, ed. Aleksandra
Shatskikh, Moscow: Gileia, 1995, 150.
5 Rosalind E. Krauss, Passages in Modern Sculpture, Cambridge, MA:
The MIT Press, 55.
6 Wassily Kandinsky, “Little Articles on Big Questions: On Line”, in Kandinsky:
Complete Writings on Art, ed. Kenneth C. Lindsay and Peter Vergo, New York:
Da Capo Press, 1994, 424.
7 S. O. Khan-Magomedov, Konstruktivizm: Kontseptsiia formoobrazovaniia, Moscow:
Stroiizdat, 2003, 108.
8 Aleksandr Rodchenko, “The Line”, in Rodchenko and Popova: Defining
Constructivism, ed. Margarita Tupitsyn, London: Tate Publishing, 2009, 164.
9 Varvara Stepanova, from the exhibition catalogue “5x5=25: vystavka zhivopisi”,
Moscow, 1921, unpaginated.
10 These terms are used in relation to the grid in Rosalind E. Krauss, “Grids”,
in The Originality of the Avant-Garde, Cambridge, MA: The MIT Press, 1985, 12.
11 B. A. [Boris Arvatov], “Oveshchestvlennaia utopiia (risunki)”, Lef, No 1, March
1923, 64.
12 Dziga Vertov, Iz naslediya: stayi i vospominaniya, vol. 2, Moscow: Eizenshteintsentr, 2008, No 25, 493.
13 N. Chuzhak, “Iskusstvo v nashi dni”, Zhizn iskusstv, No 21, 1925, 4. With this
definition, Chuzhak specifically refers to Rodchenko and Mayakovsky’s “hackwork
photo-advertising” for state-sponsored companies and department stores, such as
Mosselprom and GUM.
14 S. O. Khan-Magomedov, “Konstruktivizm v armature povsednevnogo byta”,
Sovremennaia arkhitektura, No 2, 1926, 2.
15 Aleksandr Rodchenko, “Discussion About New Clothes and Furniture–Design Task”,
in Rodchenko: Experiments for the Future: Diaries, Essays, Letters, and Other Writings,
New York: The Museum of Modern Art, 2005, 198.
16 In Paris Rodchenko bought a 4 x 6.5cm ICA plate camera and a 35 mm Sept
(a movie camera that can also make still frames).
17 Rodchenko to Stepanova, from Paris to Moscow, 23 March 1925, in Varvara
Stepanova, Chelovek ne mozhet zhit bez chuda: pisma, poeticheskie opyty, zapiski
khudozhnitsy, Moscow: Sfera, 1994, 189.
18 Aleksandr Rodchenko, “Perestroika khudozhnika”, cited in Aleksandr Lavrentiev,
Rakursy Rodchenko, Moscow: Iskusstvo, 1992, 20.
19 Aleksandr Rodchenko, “Doklad o sotsialnom znachenii fotografii”, 1930,
unpublished manuscript, A. Rodchenko and V. Stepanova Archive, Moscow.

Aleksandr Rodchenko

70

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20 Gilles Deleuze, Cinema 1: The Movement–Image, trans. Hugh Tomlinson and
Barbara Habberjam, Minneapolis: University of Minnesota Press, 1986, 39.
21 Ibid.
22 Leonid Mezhericher, “Segodniashnii den sovestskogo reportazha”, Proletarskoe
foto, No 1, 1931, 10.
23 Gilles Deleuze, Masochism: An Interpretation of Coldness and Cruelty, New York:
Georges Brazilier, 1971, 47.
24 Aleksandr Rodchenko: Experiments for the Future, 18 February 1934, 309.
25 Ibid., 21 February 1934, 293.
26 Ibid., 9 December 1937, 316.
27 Ibid., 18 August 1938, 321.
28 Ibid., 29 July 1943, 351.
29 Ibid., 21 February 1943, 332.
30 Ibid., 30 July 1943, 370.
31 Ibid.
32 The Originality of the Avant-Garde, 237.
33 Lee Krasner quoted in The Originality of the Avant-Garde, 239.
34 Aleksandr Rodchenko: Experiments for the Future, 8 February 1944, 385.

Маргарита Тупицына
Александр Родченко
Margarita Tupitsyn
Aleksandr Rodchenko
Издатели:
Александр Иванов
Михаил Котомин
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