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The Russian constructivist "object" ...

Kiaer, Christina Hilleboe.

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The Russian constructivist "object" and the revolutionizing of everyday life, 1921-1929.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The Russian constructivist "object" and the revolutionizing of everyday life, 1921-1929./
Author:	Kiaer, Christina Hilleboe.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 1995,
Description:	409 p.
Notes:	Source: Dissertation Abstracts International, Volume: 57-03, Section: A, page: 8980.
Contained By:	Dissertation Abstracts International57-03A.
Subject:	Art history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9621216

The Russian constructivist "object" and the revolutionizing of everyday life, 1921-1929.
Kiaer, Christina Hilleboe.

The Russian constructivist "object" and the revolutionizing of everyday life, 1921-1929. - Ann Arbor : ProQuest Dissertations & Theses, 1995 - 409 p.

Source: Dissertation Abstracts International, Volume: 57-03, Section: A, page: 8980.

Thesis (Ph.D.)--University of California, Berkeley, 1995.

In 1921, the Russian constructivist artists declared that they could best contribute to the new Soviet state by abandoning avant-garde painting and sculpture entirely in favor of entering into industry to produce utilitarian objects for use in everyday life. This declaration was not only avant-garde sloganizing, but a deliberate intervention into the contemporary Soviet campaign for the formation of a "new everyday life" (novyi byt) after the Revolution. The constructivists imagined a socialist "object" that would foster the identity of a new Soviet subject: it would encompass the individual desires organized by the commodity fetish, even as its Marxist goal was to construct new, transparent relations between subject and object that would lead to collective utopia. The "productivist" rhetoric of constructivism paradoxically resulted in a profound engagement with consumption in the context of the hybrid consumer culture produced by the semi-capitalist economy of the New Economic Policy (NEP) of 1921-1928. Chapter One examines the tension between the visual and the material in constructivist theory through an analysis of Vladimir Tatlin's anti-aesthetic utilitarian objects and the agitational optics of Varvara Stepanova's textile designs, both of 1924. Chapter Two theorizes the "active" socialist object as a fetish endowed with social agency, through a case study of the state enterprise Mossel'prom, for which Aleksandr Rodchenko mass-produced advertisements and packaging in 1923-25. Chapter Three questions the socialist object's relation to the capitalist commodity through an analysis of Rodchenko's letters home from Paris in 1925 and the famous Workers' Club that he built there. Chapter Four argues that the gradual demise of NEP beginning in 1926 eliminated the economic context that made the constructivist object viable, and constructivist beliefs in the consumer object as a key to the formation of Soviet subjects were redirected toward other forms: Sergei Tret'iakov's eugenic play I Want a Child of 1926-29, for which El Lissitzky designed the sets, continues constructivist metaphors of production and consumption, and the fetishized photographic object replaces the material object as fetish in Rodchenko's photography of the later 1920s.Subjects--Topical Terms:

2122701
Art history.

The Russian constructivist "object" and the revolutionizing of everyday life, 1921-1929.
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100 1 $a Kiaer, Christina Hilleboe. $3 3279387
245 1 4 $a The Russian constructivist "object" and the revolutionizing of everyday life, 1921-1929.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 1995
300 $a 409 p.
500 $a Source: Dissertation Abstracts International, Volume: 57-03, Section: A, page: 8980.
500 $a Chair: Timothy J. Clark.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 1995.
520 $a In 1921, the Russian constructivist artists declared that they could best contribute to the new Soviet state by abandoning avant-garde painting and sculpture entirely in favor of entering into industry to produce utilitarian objects for use in everyday life. This declaration was not only avant-garde sloganizing, but a deliberate intervention into the contemporary Soviet campaign for the formation of a "new everyday life" (novyi byt) after the Revolution. The constructivists imagined a socialist "object" that would foster the identity of a new Soviet subject: it would encompass the individual desires organized by the commodity fetish, even as its Marxist goal was to construct new, transparent relations between subject and object that would lead to collective utopia. The "productivist" rhetoric of constructivism paradoxically resulted in a profound engagement with consumption in the context of the hybrid consumer culture produced by the semi-capitalist economy of the New Economic Policy (NEP) of 1921-1928. Chapter One examines the tension between the visual and the material in constructivist theory through an analysis of Vladimir Tatlin's anti-aesthetic utilitarian objects and the agitational optics of Varvara Stepanova's textile designs, both of 1924. Chapter Two theorizes the "active" socialist object as a fetish endowed with social agency, through a case study of the state enterprise Mossel'prom, for which Aleksandr Rodchenko mass-produced advertisements and packaging in 1923-25. Chapter Three questions the socialist object's relation to the capitalist commodity through an analysis of Rodchenko's letters home from Paris in 1925 and the famous Workers' Club that he built there. Chapter Four argues that the gradual demise of NEP beginning in 1926 eliminated the economic context that made the constructivist object viable, and constructivist beliefs in the consumer object as a key to the formation of Soviet subjects were redirected toward other forms: Sergei Tret'iakov's eugenic play I Want a Child of 1926-29, for which El Lissitzky designed the sets, continues constructivist metaphors of production and consumption, and the fetishized photographic object replaces the material object as fetish in Rodchenko's photography of the later 1920s.
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