'A leading Russian Constructivist artist, graphic, and costume and set designer Varvara Stepanova was best known for her textile and clothing designs and, like her husband Alexander Rodchenko and Vladimir Tatlin, became committed to utilitarian designs geared to social needs and economic mass production.
'After studying at the School of Fine Arts in Kazan from 1910 to 1911 she moved to Moscow where she studied at the Stroganoff School of Applied Art from 1913 to 1914. After working with avant‐garde abstract forms she was, from 1920, an active member of Inhuk (the Institute of Artistic Culture) which had been established in 1920. In the following year, with her husband Rodchenko and others, she became involved with Productivism—the mass‐production of industrial and applied art.
'She designed utilitarian workers' clothing, strongly coloured, geometrically patterned sportswear, and theatre costumes and sets, such as that for The Death of Tarelkin produced by Meyerhold in Moscow in 1922. She also taught at the Moscow Vkhutemas and, in the mid‐1920s, produced many designs for mass‐produced cotton textiles often characterized by flat, coloured abstract patterns.
'In the same period she contributed to a number of avant‐garde periodicals such as LEF (1923–5) and Novy LEF (1927) and increasingly devoted her attention to book and periodical design, often in conjunction with her husband Rodchenko, with whom she collaborated closely on photographic albums in the 1930s. After the Second World War she worked on the periodical the Soviet Woman (1945–6). She died in Moscow in 1958.'-- collaged
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Portrait gallery
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Further
Varvara Stepanova @ Wikipedia
VS @ MoMA
VS @ Monoskop
Stepanova's 'The Results of the First Five-Year Plan', 1932
'Badass Lady Creatives [in History]: Varvara Stepanova
'The short life of the equal woman'
Book: 'Varvara Stepanova: The Complete Work'
The Russian Fashion Blog: 'Constructivism in Russia in the 1920s'
'Alexander Rodchenko and Varvara Stepanova Heritage'
Toot as in foot.: Varvara Stepanova
'Adventures in Feministory: Stepanova and Popova'
'Varvara Stepanova: Standing Ovation, Seated
Russian Avant-garde Gallery Forum: Varvara Stepanova
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Dangerous Art: From Varvara Stepanova to Pussy Riot
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Program of the First Working Group of Constructivists (Excerpt)
Varvara Stepanova & Alexander Rodchenko
The Group of Constructivists has set itself the task of finding the communistic expression of material structures.
In approaching its task the group insists on the need to synthesize the ideological aspect with the formal for the real transference of laboratory work on to the rails of practical activity.
Therefore, at the time of its establishment, the group's program in its ideological aspect pointed out that:
1) Our sole ideology is scientific communism based on the theory of historical materialism.
2) The theoretical interpretation and assimilation of the experience of Soviet construction must impel the group to turn away from experimental activity `removed from life' towards real experimentation.
3) In order to master the creation of practical structures in a really scientific and disciplined way the Constructivists have established three disciplines: Tectonics, Faktura and Construction.
A) Tectonics or the tectonic style is tempered and formed on the one hand from the properties of communism and on the other from the expedient use of industrial material.
B) Faktura is the organic state of the worked material or the resulting new state of its organism. Therefore, the group considers that faktura is material consciously worked and expediently used, without hampering the construction or restricting the tectonics.
C) Construction should be understood as the organizational function of Constructivism.
If tectonics comprises the relationship between the ideological and the formal which gives unity to the practical design, and faktura is the material, the Construction reveals the very process of that structuring.
In this way the third discipline is the discipline of the realization of the design through the use of the worked material.
The Material. The material as substance or matter. Its investigation and industrial application, properties and significance. Furthermore, time, space, volume, plane, color , line and light are also material for the Constructivists, without which they cannot construct material structures.
The Immediate Tasks Of The Group
1) In the ideological sphere:
To prove theoretically and practically the incompatibility of aesthetic activity with the functions of intellectual and material production. The real participation of intellectual and material production as an equal element in the creation of communist culture.
2) In the practical sphere:
• To publish a statement. To publish a weekly paper, VIP [Vestnik Intellektual'nogo Proizvodstva; The Herald of Intellectual Production].
• To print brochures and leaflets on questions relating to the activities of the group.
• To construct designs. To organize exhibitions. To establish links with all the Production
Boards and Centres of that unified Soviet machine which in fact practically shapes and produces the emergent forms of the communist way of life.
3) In the agitational sphere:
i) The Group declares uncompromising war on art.
ii) It asserts that the artistic culture of the past is unacceptable for the communistic forms of
Constructivist structures.
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Graphic Design
'Though too often under-represented in its history, women were central to Constructivism in Russia. Varvara Stepanova designed some of the period’s most arresting graphics for posters and publications, working alongside her husband, Alexander Rodchenko. Collage played a key role in the development of the movement’s style, allowing for a mix of clean typography, active figures and engaging faces cut from photos, and thrusting geometric forms emblematic of the relentless march of Communism. Even in non-propaganda work, Stepanova’s shrewd ability to evoke motion on a static page shines.'-- NC A&T
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Textiles
'Stepanova carried out her ideal of engaging with industrial production in 1922 when she, with Lyubov Popova, became designer of textiles at the Tsindel (the First State Textile Factory) near Moscow, and in 1924 became professor of textile design at the Vkhutemas (Higher Technical Artistic Studios) while continuing typography, book design and contributing to the magazine LEF. As a constructivist, Stepanova not only transposed bold graphic designs onto her fabrics, but also focused heavily on their production. Stepanova only worked a little over a year at The First Textile Printing Factory, but she designed more than 150 fabric designs in 1924. Although she was inspired to develop new types of fabric, the current technology restricted her to printed patterns on monotone surfaces. By her own artistic choice, she also limited her color palette to one or two dyes. Although she only used triangles, circles, squares, and lines, Stepanova superimposed these geometric forms onto one another to create a dynamic, multi-dimensional design.'-- collaged
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Clothing
'In 1921, Stepanova moved almost exclusively into the realm of production, in which she felt her designs could achieve their broadest impact in aiding the development of the Soviet society. Russian Constructivist clothing represented the destabilization of the oppressive, elite aesthetics of the past and, instead, reflected utilitarian functionality and production. Gender and class distinctions gave way to functional, geometric clothing. In line with this objective, Stepanova sought to free the body in her designs, emphasizing clothing’s functional rather than decorative qualities. Stepanova deeply believed clothing must be looked at in action. Unlike the aristocratic clothing that she felt sacrificed physical freedom for aesthetics, Stepanova dedicated herself to designing clothing for particular fields and occupational settings in such a way that the object’s construction evinced its function. In addition, she sought to develop expedient means of clothing production through simple designs and strategic, economic use of fabrics.'-- collaged
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Gaust Chaba
'Stepanova spent the 1910s studying at various art schools and working as a bookkeeper and secretary to make a living, all the while experimenting with abstract art forms. Her earliest notable body of work is her zaum’ (“transrational”) poetry, an approach spearheaded by the Futurist poets. Gaust Chaba, considered the masterpiece of Stepanova’s Visual Poetry series, is book of collaged paper and colored crayon and gouache text on found newspaper leaves.'-- collaged
*
p.s. Hey. So, by my count, I have 14 yeses for the faux-escort SPD. That's probably enough to go ahead and do it, but it would definitely be great to have more participants. Everyone, whether you're a silent viewer of this blog or a commenter, I invite/urge you to participate in the upcoming Self-Portrait Day post. See the explanation/description at the top of yesterday's p.s. If you'd like to take part, let me know by tonight in your time zone via a comment or an email (dcooperweb@gmail.com). Thank you! For those who've already volunteered, I will send you your escort photo(s), a sample form, and your deadline via email tomorrow (Saturday). ** Rigby, Rigs! Another Stockholm syndrome victim. Understandable, by the way. No, I'm a screenwriter now. My friend Zac is the director now. I always wear my baseball cap sideways. ** Keaton, I think it's a written thing exclusively, but, hey, it's not like I hang out in crowds of flippant gay guys very often if ever. Yeah, it was a good escort batch, right? The post was like a great flash fiction anthology. Oh, Bierce, yes, I always forget about him. Gotcha. I'll find a thing by him somewhere. Thank you, and I copied and pasted your specific recommendations into a TextEdit file which I will send to my phone somehow for easy pickins in future bookstore ventures. And thanks, obviously, for ponying up for the SPD. ** David Ehrenstein, Hi, D. Oh, is the SPD an ambitious assignment? Yeah, maybe, I can see that. Oops, oh well. I know you could compose a consummate one if the mood to do so strikes you. ** Dom Lyne, Hi, Dom! Thanks for agreeing to do the escort thing. Yeah, I got your email, and, as lucky timing would have it, I'll get to launch the intro book post on your official pub date, i.e. next Thursday, the 22nd. Thank you! And, yes, your book arrived this very morning! Thank you a million for that. Excited! ** Sypha, Thanks for doing the SPD, pal. Well, it was either let Misa on the set, which would require using some of our precious budget money to buy and suit him up with a straight-jacket and ball-gag, or deny him entrance. For financial reasons only, I had to make the hard choice. The cover sounds beautiful! I'll get Kp to show it to me asap. Man, Rebel Satori is so fucking fast, if that happens. I don't think I've ever had a novel that I turned in to a publisher get released in less than a year's time. ** Steevee, Hi. Well, I think he was being ironic, and he is '15...I think' years-old, and, in any case, I say 'I love you bro (no homo)' to my non-gay and even gay friends quite frequently. The phrase has a nice combination of colorfulness, a slightly disconcerting comedic vibe, and an efficiency without the dullness and predictability that normally come with efficiency. No fun indeed on the dentist thing. Demand awesome drugs at least, obviously. ** Chilly Jay Chill, Hi, Jeff. I told the Pompidou guy I had a recommendation and that I would email him with a link, etc. So, we'll see what happens, and I'll do my best. I hope that last performance with your attendance in tow was maybe even the best one? Would be nice. I am a fan of 'Fire Walk with Me'. I wasn't so into the first, what, 20 minutes of it. I definitely, definitely want to see the new version. Yeah, exciting. Safe trip home. ** _Black_Acrylic, Hi, Ben. Cool, thanks about the SPD. Studio Jamming looks like a really interesting project and event, and your YnY proposal sounds unsurprisingly awesome. Hope the progress was made! ** Bill, Nothing's not to like in that case. Gracias for the SPD involvement. Thanks for the Henke link. I didn't get to see his site yesterday, but today's free-ish enough, and thank you! Oops on missing/skipping Current 93. Seems like you've made the right choice, though. ** Flit, Flit! No problem on the space. I've been jonesing to space out. Not for more than maybe an hour or so 'cos I like the busy thing, mind you. I might get to today. Yes, thank you, re: your SPD agreement! Do I have your email address? I totally agree with you about that particular text. I think that one was the crown for me. I'm meshed. Are you? You had a mesh-outshooting vibe. ** Lee, Hi, Lee. Way cool about you doing the SPD. Sweetness and light aka thank you! ** Schoolboyerrors, And you're up for the SPD! The blog is scoring all over the place. Thank you, man! I agree with you re: your Kraus/Dodie comparison big time. I can't even imagine referring to her as Bellamy. Which of course makes it something imperative to do. Hm, I'll try that in a comment on one of her FB status updates and see what happens. I bet it'll freak her out. Could be fun. I ... wait, do I know the O'Hara and Ashbery 'EoE' thing? I thought I did, but I don't think I do. Can you tell me, just in case? Do you mind? I'm a billion percent in on New York school trivia nerd trolling. Are you a frequenter of this. I so am. With love back. ** Schlix, Hi, Uli! I think it depends on the size of your bank account and the degree to which you're wiling to proportion it towards happiness and how both honest and sanely self-reflexive that escort is. Thank you re: the SPD! I'll send you the escort photo on Saturday, hoping that will give you enough time. I think I have your email address, don't I? Cool, I hope I'll get to see Datashock, or I hope I'll know when they're playing here in Paris next time because I seem to miss everything due to Paris's lack of a decent information site about local gigs and their scheduling. I haven't heard the Klara Lewis album. I'm sure Peter R. will give me one at some point, but I'll go dip into what I can find in the meantime. ** Misanthrope, The golden rule when considering escorts as a financial investment is to decide they look like they look in their least flattering photo, in my experience, which admittedly is kind of antique. Sort of. Maybe. Like I told Sypha, we don't have the straightjacket and ball-gag necessary to allow you safely onto our set in our budget. And before you offer to spring for them yourself, no. Ha ha. Oh, it's a serious endeavor all right. We're even barring our producer from the set except in one instance where he insisted, and, even then, either he brings along a straitjacket and ball-gag, or we're barring the door. News on my possible free day as soon as I have it, which should be very soon. Yuck, traffic, yuck, I'm from LA, high five, yuck. And thank you for the SPD agreement, bud. ** Rewritedept, Thanks for saying yes to the SPD. I think I'm going to choose the escort photos and corresponding assignees by the old eeny-meeny-miney-mo method. I think every porn scenario at this point is inherently a standard porn scenario that's being subverted. That genre has been everywhere. My day was good. Things got done. Another guy we really want for a particular role in our film said yes. I remember thinking "Chasing Amy' was absolutely god awful, but I am not, repeat not a Kevin Smith fan. The 'Rite of Spring' thing was in two parts. The first part, which was an 'experimental''Rite of Spring' dance piece, might well be the worst thing I have ever seen in my life. The second part, which was a exacting recreation of the original 'Rite of Spring' dance piece, was really fun. Never saw 'Weeds'. Heard of it. Rock Friday, man! ** Right. Check out my humble overview thing on the wonderful Varvara Stepanova, thank you. Consider saying yes to the SPD: Escort post proposal and letting me know by one of the two methods mentioned above by tonight, thank you. See you on Saturday aka tomorrow.