Alexander Rodchenko
Alexander Rodchenko was born in St.Peterburg in 1891 from a middle working class family. An inspired artist in photography who declared painting to be dead after the Russian revolution and emerged as an artist in photography. He became Productivisim in 1921 abandoning painting for his new obsession of photography which is believed to be the new modern art to express through media and social realities emerging at the era. Rodchenko was a photographer, graphic designer, painter and a sculptor. In addition he was the founder of the constructivism and jointed the avant-garde circle around Malevich and Tatlin. Alexander Rodchenko style was to overwhelm people with hes creations using shades of colours and concepts only a genius artist would. He used combination of lines as a formation of art. He used ink lines drawn with a ruler, compass and shaded solid grey to make some of the outlines and shapes. He established his own creation using plastic forms and abstracts; composing shapes, obliques, angles and asymmetry spatial for example Girl With A Leica.
He then started creating shapes of circular colour forms with combinations that were based on solid colours that stood alone. Rodchenko's final farewell to painting consisted of three solid colours pure red, pure yellow, pure blue hung on the wall side by side as a direct response to the Russian revolution of 1917. It was right after this show which was called 5x5=25 that Rodchenko turned away from painting and began photographing the Soviet regime and designing posters, including an iconic image for the film Battleship Potemkin. Also a poster which has since been reproduced as an album cover by the band Franz Ferdinand. The concepts “black on Black” was a hit in the 20's that some musicians requested Rodchenko to be part of the team and capture an image of the music for the bandmates. Rodchenko was even involved in making music albums, films, and postures for advertisements such as Propagandas “You could have it so much better” and “The Sixth part of the world”.
John Heartfield
John Heartfield, a versatile and prolific artist, was born Helmut Herzfelde in Berlin in 1891. In 1907 he became an assistant to the painter; two years later became a student at the School of Applied Arts in Munich. In 1912, John started work as a designer in Mannheim for a year before moving to Berlin to study under Ernst Neuman at the Arts and Crafts School. In 1916, John and his brother founded the Malik Verlag publishing house in Berlin which John was responsible for the graphics for its publications and became a follower of the Dada movement. He was drafted into the infantry where he meets George Grosz. After the war John joined the newly formed German Communist Party (KPD) and over the next fifteen years produces designs and posters for the organization. During these period artists such as George Grosz, Otto Dix, Max Ernst and Kurt Schwitters form the German Dada group. Some of these artists, including Ernst and Schwitters, were influenced by the work of John and developed his ideas on photomontage. In 1923 John became editor of the satirical magazine, Der Knoppel. Heartfield also worked for the socialist magazine, A.I.Z. where he used photomontage to attack Adolf Hitler and his Nazi Party. In 1938 John moved to London England where he produced photomontages for the Reynolds News, Picture Post and Penguin Books. John returned to Germany in 1950 where he designed scenery and posters for the Berliner Ensemble and the Deutsches Theatre in Berlin. In 1960 he became professor at the German Academy of Arts in Berlin.
ZarahJane Silfavan
Peter Kennard
Peter Kennard (born February 17, 1947) is a London born and based icon/revolutionary of photomontage photography. According to the credible sources he started his illustrious career at the tender and awe-inspiring age of thirteen, when he began to dabble in painting and drawing. Some of his notable early influences/inspirations were the likes of Picasso, Bacon, Sutherland and Giacometti. Peter Kennard is also known for his incendiary composite images such as the one featured in my assigned reading entitled--‘Photo Op’—said picture shows a smiling/leering former British Prime Minister Tony Blair taking a picture of himself in front of an explosion. Obviously this piece in question isn’t real, the original picture of Blair has been doctored more specifically--it’s been superimposed onto a picture of a fiery explosion for shock-and-awe. Kennard has been quoted as saying of said picture, “…It catches Blair at his most Blairite – the casually contemporary guy, the publicity narcissist, in full grimace. And the whole scene is very nearly believable. It's the kind of thing that Blair, in his boyish gung-ho silliness, could almost have done – gleefully snap himself, with his own war as a souvenir-backdrop.” According to Kennard himself the power of said image, is its ability to succinctly and brilliantly insult-- by conveying a lot public suspicions about Blair’s scruples and priorities. All while playing a pictorial practical joke, one even those who might not share that above mentioned suspicions/enmity for Blair might find humour in. The use of Photoshop in the production of this picture and other like it, “…can achieve the indelibly compromising realism of a blackmail photo, as in Photo-Op. It makes the conjunction of one thing and another visually undeniable. It's good at insinuating guilt by association, while raw collage is better at conveying outrageous, incongruous wrongness.” His work is politically left-leaning and almost always negative/grim in its worldview. He attacks, criticizes and/or exposes the failings/ills of the status quo in his work—yet he never depicts an imaginary better world.
Some of Peter Kennard's Work:
PETER KENNARD AND CAT PICTON PHILLIPPS , 2004 - 2007
'Photo op' source
CND Demonstration in London, 1982 source
Suraya Mohamed
What are the differences and similarities?
There were many similarities between Alexander Rodchenko, Peter Kennard, and John Heartfield’s work. The most important similarity that stands out to be an important meaning in all three of their photographs is that it is all related to society. The main aspect of their work is taking photographs of significant events that happen in society and/or relate to politics. Another similarity is shown through their art in taking pictures. All their photographs send out a message that is very visible to the viewers. We have learned how photographs can send messages to the viewer as well, there doesn’t necessarily have to be words to describe the photograph, and I strongly believe that these three artists’ photographs do just that. Their meaning to their photos is very vague, and sure seem to affect the societies opinions and catch their attention. Another obvious similarity is that all three of these photographers capture their own opinion on society and politics, however some in different ways than others. Later on John Heartfield showed some similarities to Peter Kennard by using photo montage to get under Hitler’s skin.
I believe every photographer and artist have differences. I believe it is important to have differences to stand out and be unique, to make your art be your own which is extremely important. I find that Alexander Rodchenko and John Heartfield’s work is very different from Peter Kennard’s work. The obvious difference is that Alexander and John’s photographs are taken from realistic events that have occurred or do occur in society; where as Peter’s photographs are photo shopped to send a message out to society on his beliefs of politics and of society. I do strongly believe that reconstructing photographs are still a form of art just because the artist is reconstructing it into his or her own, but the other difference can be for those who don’t believe reconstructing and photo shopping is an art. For those who don’t believe these are forms of art can point out the difference that Alexander and John’s photographs are real art, where as Peter’s isn’t.
Victoria Martins.
Do you think they had impact on the society and created changes?
The three different photographers Alexander Rodchenko, Peter Kennard and John Heartfield of their photomontages had a significant impact on society that created changes. The photographers presented the photomontages as a viewing to portray the message that they wanted people to notice about politics and society. Their particular art had an impact as well because they were very similar men who wanted people to appreciate their art. Additionally, the photographers expressed their physical emotions and thoughts toward the society which had an impact on the viewers. I feel passionately that the three photographers can create change on society thought out their work that they created because it allows people to realize and imagine what they are considering and looking at, when they are viewing their photos. Also, I believe that people want to know what the meaning of the photo means and why it is important when they view their art.
Christine Tropea
Can photography and photographers achieve something like that?
As Christina stated above, photography does have an impact on society and through photography, change can happen. From this potential change, the photographers are achieving their goals. Each photographer had the goal of bringing a message to society and raising their beliefs and views on society. Depending on what type of photograph has been captured a different message will be portrayed. For example a photo of a house for sale would not create as much change in society as a photo of a riot would. I believe that photographers can achieve change through their photographs. As we see in newspaper or the Internet, people are immediately affected and influenced by the graphics that they come across. From photos, ideas, beliefs and opinions are formed. Initially when a photographer takes a photo they are creating a message or trying to portray something to the audience. When I capture a photo or see someone capturing a photo I always wonder and ask what he or she hope the audience will understand or learn from this photo.
Rebecca Hirsz
Rodchenkos experience in the world has some influence in invention, he has the talent for creativity and passion to change what the eye sees. To start new declaration of art and the new era of art is to take what you have and make it more revealing. This experience convinced him theres a universal co-existence system and outlines among us which is just waiting to be captured. He states, it shouldn’t be hidden or shown on a piece of paper but rather then to be revealed and emphasized by an artist.
Sadia Ali
