Constructivist Written Study

THOMAS BLACK
SHOULD THE
CONSTRUCTIVISTS
BE LABELLED
ARTISTS OR
DESIGNERS?

Rodchen
GaboRod
2

ko chenko
Gabo
CONTENTS
Introduction 5
Chapter 1
Alexander Rodchenko 6
Chapter 2
Naum Gabo 10
Comparison 14
Conclusion 15
3

Design as it is now interpreted
is a compromise between
the designers ideas and the
consideration of others - the client
or user. Great design combines
two types of aesthetic - appearance
(is the work pleasant to look at) and
function (how well designed is the
work for its use). For the designer
in a capitalist society; ”The better
designed the object, the more
it will sell” (9)
Art on the other hand is
often questioned by the public
because the meaning sits more
(if not entirely) with the artist. An
artist satisfies his own needs in an
free, individual way - not hung up
on how someone will react to
their work.
4

Constructivism as a movement
emerged in the early twentieth
century out of Cubism and
Futurism.
It argued that art should be
constructed from modern
industrial materials, serving a social purpose
and up to the viewers interpretation. The
artworks subject proclaimed political messages
following the Communist Revolution of 1917.
The first five decades explored a broad range
of medium from 3-dimensional sculpture,
colourful propaganda posters and fashion; with
an emphasis on creative construction.
But should the creators associated with
constructivism, for example Alexander
Rodchenko, Gustav Klutsis, Liubov Popova and
Naum Gabo to name a few, be determined as
artists or designers?
Their theory of construction, using a range
of new industrial technology to create work
with societal purpose, certainly points to a
more architectural and design based stance
within art, but ‘fine’ art, as such, comes in many
different forms and these Russian creators
wished to change art and its value within
society; certainly evidence of their artistic
integrity.
5

6
Rodchenko

“The term Construction Art was first used as a
derisive term by Kazimir Malevich to describe the
work of Alexander Rodchenako in 1917”1 – so it
makes sense to start with him.
CHAPTER1
In 1921, Rodchenko “rejected traditional
painterly techniques” 2, abandoning
painting, following the production of his
infamous final paintings of block colour.
His attention turned to art within society,
arguing that art making was “a form of
professional expertise and labour like any other,
and not as a spiritual calling” (3).
He was a founding member of the
‘Constructivist Working Group’ at this time and
produced a series of compositions he called
tspatial constructions.
No.12, the only surviving work from the
series, Rodchenko created using compasses,
rulers and plywood, seemingly the materials
associated with the designer and architect
rather than an artist.
My initial reaction was one of wonder at the
apparent complexity of the structure.
It had been less than twenty years since the
invention of the aeroplane and yet Rodchenkos
spatial constructs seemed a feat of complex
engineering, despite very few separate parts.
The piece could flatten into a singular
2-dimensional eclipse but then return to an
‘airy’ 3D structure.
When I look at ‘No.12’ I see the form of an
atom - the complex element, the key to the
worlds makeup, providing a symbol of a new
and energetic art movement.
Within this work I think that the negative
space is just as important as the real, tangible
materials; this reflects a constructivist desire to
use a wide range of tools and media that were
to hand, abandoning the traditional artistic
use of precious substances and purpose made
paints.
Spatial construction No.12
“constructive and spatial composition
in ‘real’ space becomes completely
detatched from the flat plane”
7

This bold and simplistic design is one of
Rodchenkos most recognisable works
showing a woman shouting for “Books!
(in all branches of knowledge)”.
With it’s simple geometry, bold palette and
clear typography, it re-wrote the language of
art as design and brought the constructivist
message to a broader audience.
Compositionally the work is satisfying.
The rectangle as a whole is divided into two
squares; the two white lines above and below
the lady’s head creates the first divide making
a square on the right, and another line runs
parallel to this on the opposite side creating
another square on the left. Futhermore the
alternating red and black grounds, clearly
divided by thick white rules, allow the balance
of type to be read seperately and clearly.
The eye repeatedly returns to a circle which
has the close-up of a girl calling to us (Lilya Brik,
a fellow student). This adds instant empathy
and appeal. She speaks to the audience and
the message is clear... books bolster the new
government’s image as being committed to
education and literacy.
The strong triangular shape growing from
the ladys mouth adds to the sense she is
shouting for change and the message clearly
Rodchenko produced
many stark and
excitng posters in
the 1920s, perfectly
capturing the energy
of the revolution
(above, far right).
The design is so
recognisible it
has been imitated
repeatably. The band
Franz Ferdinand
faithfully copied it
on their 2017 album
cover (above).
indicates she is calling for action, as if through a
loudspeaker.
Rodchenko will have understood the
importance of simple yet perfect composition,
combined with powerful shapes and strong
colour, for creating visual balance within a
poster – making the outcome appealing and
effective to the onlooker.
It could be argued that this piece reflects
Rodchenko as a designer rather than an artist.
The poster was made in 1924, after
Rodchenko had abandoned painting and
embraced a more functional view of art
inspired by his commitment to the values of
the Revolution. His work “not only introduced
modern design into Russian advertising, but it
attempted to sell the values of the Revolution
along with the products being promoted”3.
This poster uses a range of media including
graphic design, text and, notably, photo
montage and photography.
All are used to this day in advertising and
the fact this piece was commissioned by the
government gives it characterisitics of a piece
of design. It considers not only the creators
ideas but also its function to a client and
user, rather than a piece of art with a singular
purpose of satisfying simply the artist.
8

Here is another one of Rodchenkos
graphical, propaganda posters
reflecting similar qualities to the
majority of his graphic design work.
The limited pallet of block red, white and
black as well as the emphasis on geometric
shapes make the poster effective from the
initial reaction, even if the viewer does not
understand the Russian script (like me).
The use of text is also important to this work:
the most striking words being ‘BCEM’ repeated
three times translating to ‘TO ALL!’.
Rodchenkos graphical work is often credited
for its clever use of composition and this poster
is no different. To start with, the overall shapes
are rectangles, a red inner shape surrounded by
a black border. This gives balance to the piece
and Rodchenko might have purposely done
this with the intention of not distracting the
viewer with complex composition.
The focal point for me is the large white plane
in the centre. It’s a great white mass set against
a large block background making it jump out of
the picture.
There is also a certain movement to
‘Dobrolet’: the black arrow surrounding the
edge of the poster gives the sense that the
plane has just flown around the edge of the
poster, and the angle at which the plane is
moving up towards the top left corner gives
me the impression the plane is about to zoom
out of the frame.
The piece is pleasant to look at and easy to
interpret; which is what makes Rodchenkos
posters so effective and plays an important
role in his legacy and the reason his ideas and
designs are still drawn on by designers to this
day.
But looking at Rodchenko as a whole, one
has to ask, does he portray more artistic
intentions; to remake and reform ‘fine art’ to
suit his views? Or is he solely using designbased
theories and ideas to make great
design? In my opinion I consider Rodchenko a
designer.
A key part of his stance on constructivist
art was that he intended his exploration of
medium and work to have influence within
the factories and change the way creative
work was made.
The fact that he was committed to testing
new materials, or ones available to him,
indicate he was designing work around the
materials he had access to; as opposed to
chosing specific materials to aid the forming
of an idea like traditional artists.
Finally, as evaluated, his work was a tmodern
take on Russian advertising which was cleverly
designed to advertise political beliefs as well
as products.
9

It is also perhaps important when
reaching an overall judgement to study
an artist who specialised in a fine art
tradition; sculpture.
Naum Gabo, born Naum Neemia Pevsner,
grew up in a family of six in the Russian town
of Bryansk. His older brother was also fellow
constructivist, Antoine Pevsner and so Naum
changed his name to Naum Gabo to avoid
confusion.
During the war he moved to Copenhagen
and then Oslo, making his first constructions
in 1915 before moving back to Russia to
get involved in the political and art scene in
1917.
Sculpture was his speciality.
CHAPTER 2
10GABO

This piece called ‘Constructed Head
no.2’ I saw at the Tate.
What struck me at first about
the piece was the colour, a brown and
rusted colour which told me immediately
it was made from metal. The one in the
gallery was an enlarged version of a 1916,
cardboard piece - made in 1966.
‘Constructed Head no.2’ was more of
an experiment for Gabo to explore his
theories of art.
“The essence of Gabo’s art was the
exploration of space, which he believed
could be done without having to depict
mass.”6 Using the method of ‘stereometric
construction’, in which space was
described in sculpture, Gabo used planes
to construct Head Nos. 1 and 2, each
surface being a flat sheet of iron. To me
this gave an effect of movement to the
piece, as the shadows cast by the sheets
expand and change to the viewer as you
move around the artwork. Futhermore
the monochromatic color and layered
planes work together to shift the shapes
in the perception of the onlooker,
alternating between being in front and
being behind.
Light and blank space also play an
important part in the final piece as space
is just as present in the structure as
solid material is. This is relevant to the
constructivist belief that the onlooker’s
perception should play an active part in
the outcome of the work.
Constructed head No.2
11

Gabo made a vast number of these
styled structures and commented that
it was some of his favourite work.
The structures exist in both hanging and
standing form and to me give an impression
of moving water and organic matter as they
revolve slowly and the shapes shift and
change.
‘Linear construction 2’ is made from
nylon threadlike filament wrapped in large
quantities around two intersecting plastic
plates, giving a certain fragility to it, especially
because you can see partially through them.
Gabo originally designed two forms like
this to hang in the lobby of the New York,
Esso Building which ‘Linear construction
2’ was developed from. Evidently this
implies that the work was originally
commissioned by a client (from the
Esso Building) detracting from its
indiviual quality as art work; but
on the other hand it was then
developed by Gabo into a
series of work reflecting his
personal ambitions and
ideas that contributed to
its creation.
Using circular, organic
shapes, Gabo has created
an essence of infinite
movement as if all the
shapes of the piece blur
into each other.
Just like Rodchenkos
‘no.12’, evaluated earlier,
there is a similarity
between the structure and
elements within scientific
discovery. Linear Construction
is both simple and complex
simultaneously; using very few
materials and colours, but creating
a complex combination of tone, form,
space and movement.
Linear Construction No. 2
12

Model for ‘Construction
relief in a niche’ (above).
‘Double Construction in
a niche’ (below).
These pieces were designed in 1929
for a relief, commissioned by Eric
Mendelsohn.
Despite being abandoned due to logistical
issues, ‘Model for ‘Construction Relief in a
Niche’’ led to Gabo’s continued exploration of
this style in ‘Double Construction in a Niche’
now in the possession
of the Tate in London.
Both pieces use a
surprising number of
materials including
plastic, cork, wood
and cellulose nitrate,
all somewhat linked
to industry and thus
accessible materials –
constructivist beliefs
being upheld.
Many qualities
remain constant throughout Gabo’s work and
this is no exception; blank space is significant
in the work and the physical materials work
with the negative space in the ‘niche’ to affect
the perception of the work. Both pieces are
also abstract work created from a theory, for
example where Gabo explores space through
abstract composition and shapes.
“Gabo’s works for niches developed from
his early interest in sculptures that extended
across the actual space of a room” 7. The vast
size of the piece, in my opinion, would affect
the atmosphere of a room which is what Gabo
was interested in doing – again implying
the importance of negative space and also
making the audience or viewer an active part
of the artwork.
As with the majority of his work an essence
of movement is apparent. Warped, curving
shapes fill the majority of the model giving
a resemblance to a garden water structure.
The thin spiral descending from the roof of
‘Construction in a Niche’ is continued in the
spiral of glass on the base of the piece as if the
whole artwork is turning.
I do not believe colour was of concern to
Gabo in this piece who prioritised focus on
materials and shape. If Gabo was considering
colour then I think it was intentional that
the browns are all monochromatic in order
to, on the one hand, concentrate focus onto
the physical materials used; and on the other
hand, aid the essence of movement within
the piece.
13

Despite the underlying
differences in medium
between Rodchenkos
graphical posters and
Gabo’s complex, intriguing
sculptures, there is significant
correspondence between the
two artists. There is especially a
similarity in purpose; it is art for
society and not for themselves,
“to them, all art and design was
a political tool” 8 thus both artists
portray work commissioned by a
third party. Although a vast amount
of traditional artwork, including
some of the most famous baroque
paintings, was commissioned by the
church or monarch, by this period
in the twentieth century, a pivotal
feature of the ‘fine’ art world was its
COMPARISON
focus on the artist’s ideas alone.
The fact that Rodchenko and Gabo were
paid/enlisted to create work (either by
the government or benefactors) gives an
impression they were free-lance commercial
designers, making work to be sold or to
portray the clients ideas, as opposed to using
art as an illustration of their own ideas alone.
Furthermore, looking at the physical
fabrication of the work uncovers more
similarities between the artists.
As evaluated, Constructivism as a movement
used a range of materials, either ones that were
to hand and also new industrial materials and
techniques.
Rodchenko used a limited number of physical
materials in his posters and for good reason;
they were pieces of propaganda to be pasted
up around the streets and needed to be easy
to interpret, but he did use a wide range of
techniques including graphics, photography
and industrial printing.
Gabo also used a wide range of tools and
materials. Plywood was used constantly by
Gabo due to its weight and ability to be cut and
shaped. This was accompanied by everything
from plastic to cast iron to blank space itself
(which should most definitely be counted as a
element within art).
Finally, the perception of the artwork to an
audience portrays similar traits in both Gabo
and Rodchenkos work.
Constructivists believed that the viewer
should play an active part in the final piece
itself, and the aesthetic of a piece of work is up
to interpretation by the audience themselves.
Rodchenkos’ posters are made to be seen by
the ‘non-artistic’ eye and have the sole aim of
portraying meaning to everyone; evidently the
viewer was an important part of the finished
work.
Gabos sculptures, whether he intended it or
not, similarly encourage viewer interpretation
due to the essence of fluidity and movement
which change depending on the angle viewed,
and also his intention for the work to change
the atmosphere of the whole room.
14

Conclusion
Ultimately there are simple guidelines
between the stereotyped designer
and the stereotyped artist as I have
discussed, simply because humans have
labelled every object, emotion and theory in
order to associate and communicate.
Constructivists in my opinion sit somewhere
in-between; yes they use a range of tools and
materials often assumed to be architectural,
yes they incorporate the onlooker and much
of their work serves a ‘clients purpose’ but
that does not detract from common artistic
features. Composition holds value in their
final pieces. A visual ‘work’ is made from
‘nothing’ using form and shape and often
holds a meaning rather than being simply
aesthetically pleasing.
Through this written study I have built up
knowledge on a new art movement from the
ground up, Constructivism was new to me
when I begun. I intend to continue looking
into graphical communication and its links to
autonomous art through its various eras and
types to better my understanding of graphic
design, typography and advertising while not
completely digressing from classical ‘fine’ art.
15

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https://en.wikipedia.org/wiki/Constructivism_(art) 1
https://www.nucreative.co.uk/graphic-design-1-russia/ 3
https://www.moma.org/artists/4975
https://www.theartstory.org/artist-rodchenko-alexander.htm
https://www.seattletimes.com/entertainment/visual-arts/the-revolution-will-be-posted-soviet-street-art-at-the-frye-museum/
http://monikaplatform09.blogspot.com/2012/01/naum-gabo.html 6
https://www.tate.org.uk/art/artworks/gabo-head-no-2-t01520
https://www.tate.org.uk/art/artworks/gabo-construction-in-a-niche-t02145 7
https://www.tate.org.uk/art/artworks/gabo-model-for-double-relief-in-a-niche-t02170
https://www.creativebloq.com/graphic-design/easy-guide-design-movements-constructivism-10134843 8
Book; ‘Design as Art’ - Bruno Munari
Book; ‘Russian Constructivism’ - Christina Lodder 2
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