Essay Feedback - Plan of Action

I feel the feedback for my essay was fair, I could have done with reading back through it and making sure I targeted the module outcomes to have a stronger essay with more theory in there.

I'm posting this up as I'll most likely lose the feedback sheet and it gives me a record I won't lose and I can comment on the feedback and have a plan of action.



_Feedback

5A1 - An excellent contextual undestanding of the cultural and social contexts of Japanese modernism

5A2 - Outline & Methodology first, then apply directly to examples

5B1 - More analysis of key text required. Triangulate more

5C1 - Excellent amount of research in bibliography but not always cited

5D1 - Generally well written. Conversational tone at times.




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I need to look more into modernist theory especially in terms of Europe and what scholars and intellectuals consider to be modernism, write about it if I agree with it or not and why - by applying those theories to existing work of that period.

The tone of voice of the essay also needs to be sorted and more conversational

There are some unncessary ares which I can probably condense and cut down as they ruin the flow of the essay.

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Level 5 Essay: To what extent does Japanese modernist graphic design reflect the unique native particularities of Japanese culture?

To what extent does Japanese modernist graphic design reflect the unique native particularities of Japanese culture?

Japanese graphic design has always been fascinating, a design style that at face value almost seems unaffected by the styles developing alongside the Japanese scene around the world, especially the European modernist movement of the early 20^th century. One of the first aspects of Japanese design one notices is the colour, the spatial consideration and the incredibly experimental layout fused with Japans unique sense of humour. Japan had an incredibly eventful 20^th century with landmark events signalling Japans prosperity – The Tokyo ’64 Olympic games being a notable example counter-balanced with scenes of absolute terror such as the Hiroshima and Nagasaki events, more earthquakes than almost anywhere in the world and nuclear scares. Amidst all this, Japanese design has never shied away from tackling social and political issues and often with unique Japanese sense of humour and confidence portrayed underneath it all, sometimes with an almost post-modernist take on things - serious mixed with tongue-in-cheek humour - a satire.

This essay aims to further investigate the Japanese visual style, sense of humour, key designers throughout post-war Japan with the increased importance given to design from the 50s onwards, the modernist movement in early 20^th century Europe, key historical events and design conferences which had a lasting impact on Japanese design and Japanese designs legacy and influence around the world will also be considered.

The first focus of this essay is the concept of modernism and the revolutionary art and design movement in Europe throughout the late 19^th and 20^th century. Modernism directly links to modernity and the technological innovations and industrialisation taking form around Europe and with extension, the world.  Modernism as a broad term encompassed the activities and creative output of those who felt that “traditional” forms of art, architecture, literature, socialism and religious organisation were outdates in the new economic, social and technological climate.

‘Modernists, including the De Stijl, Constructivism and Bauhaus movements, departed from the rural and provincial zeitgeist prevalent in the Victorian era, rejecting its values and style in favour of cosmopolitanism.’[AMBROSE, 2009; p58]

 One of the key symbols of early modernity in the late 19^th and early 20^thcentury was Paris. Almost the ‘centre’ of this mass urbanisation and industrialisation. A core concept of modernity was to show off technology, show off where the country and its people were at in relation to the rest of the world, almost as a form of self-validation. ­­

‘The 1925 Exhibition… this bombastic display signalled modernity highly pertinent to the revitalisation of post-war France: the cascade of light celebrated specifically modern and urban rituals – those of shopping and consumption.’ [GRONBERG, 2003; p47]

This form of self-validation I feel was noticeably prevalent in the Japanese design scene as they too aimed to establish themselves amongst the rest of the world with the rise of graphic design in Japan from the 40’s onwards as it merged a modernist outlook combined an as narrow-minded as it might seem to say, a frequent post-modern visual style with definite post-modern principles from the 60s onwards.

Cities became immensely populated compared to before; rural life was swapped for city life. New forms of entertainment and transport such as movie theatres and train transport changed peoples lives and leisure habits, this changed the demand for design, the role of a designer almost became to shape society, work was no longer for the church or for a more ‘traditional’ cause. This same development also happened in Japan, especially in Tokyo in the early 20^th century with huge technological and urban growth. Modernism almost brought about the rise of the skyscraper, in the 19^thcentury public buildings were often horizontally expansive and private buildings were vertically planted, in the 20^th century this relationship was switched with vertical buildings frequently being tall. The development of Tokyo to today’s neon skyline has had a huge legacy and is iconic and synonymous with Japan, influencing others around the world as much as it influences the Japanese design scene itself. Ridley Scott’s 1982 dystopian, post-modern and almost pessimistic vision of the future in science fiction movie Blade Runner clearly references the neon high-rise landscape of Tokyo.

‘Blade Runner’s set in the future, but with an aesthetic rooted in the past - it's as influenced by Metropolis’s art deco buildings and film noirs of the 40s and 50s as it is by the neon glow of 80s Tokyo’ [LAMBIE, 2012]

In terms of Japanese design reflecting the culture itself in an almost subconscious way look no further than Ikko Tanaka’s poster for a noh production (traditional Japanese theatrical production) from 1961. (fig.1) Clearly influenced by the ancient art of Japanese calligraphy and typography, itself a key factor in establishing a unique Japanese visual style that significant pre-dates the modernist movement yet still remains intact in modernist Japanese design.

‘One of Tanaka’s specialities is his trademark design, born of his deep appreciation of the shapes and lines created by Japanese calligraphy. These kanji letters…are arranged in traditional fashion, reading from top to bottom, right to left. The beauty of the letter forms is enhanced by the printing of different parts in distinct colours.’ [THORNTON, 1991]

The World Wars have had a significant effect on Japanese design, motivations and overall psyche. The most significant shift in Japanese design and conventions changed during World War 2, a flurry of war restrictions was placed upon Japanese design in 1941, with complete military control over material such as magazines, newspapers and posters. Poster design, just as in wartime Europe was often used as a means of propaganda for national interest and military campaigns. Notable designers in this practice were Tadashi Ohashi and Ayao Yamana. An actual agreement was in place in the advertising industry regarding restraint in colour and design - aspects of Japanese design that have historically been paramount, especially colour. Japanese people had never even experiences invasion by a foreign force or even military defeat until WWII. This devastation, along with the restrictions and lack of freedom in the design scene fused with the utter devastation of the Hiroshima and Nagasaki bombings shaped Japan’s psyche and motivation for design and modernisation in its structure.

‘The devastation caused by bombs and complete economic collapse brought severe psychological “loss of face.”’ [THORNTON, 1991; p65]

At first glance one would think this occupation of Japan by the American forces would devastate and cripple Japanese rule, it did, but seeds were planted for Japanese to rise again with newfound hunger and optimism. Under American rule, a new constitution was passed in 1946, which provided coeducation, and voting rights for women for example, Japan was slowly starting to become a forward thinking country. This attitude didn’t neglect the design scene – the Japanese Advertising Society was established in 1946 and held it’s first exhibition in 1947. During the occupation, western influences were beginning to become part of everyday life in Japan with American magazines such as Saturday Evening Post filling the newsstands in Shimbashi, Tokyo.

‘Fall down seven times, stand up eight.’ A Japanese proverb.

You would be wrong in thinking this is the first time Japanese design had been influenced by the burgeoning modernist movements of Europe and America though. In the early 20^th century, the Bauhaus school of design was set up in Germany after the outbreak of war from 1919 to 1933 until Hitler’s Nazi regime caused a halt to it. There was also the Constructivist movement in Soviet Russia, also established in 1919 and focused on shaping society and the blue-collar workforce. Of all the movements in Europe though, it is fair to say Bauhaus had the most impact on Japan with several Japanese posters of the ‘30s showing clear typographical influences of European designers such as Herbert Bayer and Jan Tschichold. Takashi Kono was a legendary Japanese graphic designer heavily influenced by the European scene, his film poster advertising Lady and Beard  (1931) illustrated flat faces in the same vein as Picasso, showing multiple facets in a flat image. (fig.2). Many iconic designers in their own right such as Tadanori Yokoo and Ikko Tanaka regard this poster as having a significant influence on their own development.

What often does not get noted in art history and many a graphic design lesson though is Japanese designs influence on the European scene, including the Bauhaus movement.

‘I am intrigued by the Japanese influence on Bauhaus, modernist design. It is inevitable to connect the two with the shared emphasis on minimalism and clean, spare, lines.’ [RILEY, 2007]

Looking at the NC State’s campus, one of it’s buildings seems to synthesise an International style with Japanese minimalism and architecture. (fig. 3)

One of the best-known Japanese graphic designers internationally is Ikko Tanaka, receiving international acclaim for his Japan Style exhibition design held in London, 1980. During the time he came up in the 60s, European poster designers such as Raymond Savignac and Herbert Leupin were at their peak, clearly influencing Tanaka. As with most Japanese graphic designers, Tanaka nit-picked what he admired from European design and infused his countries and his own strong and visual style with it, creating a mathematical and logical style Tanaka became synonymous with. A beautiful example of European structure meeting Japanese design is a UCLA festival poster designed by Tanaka in 1981. (fig. 4)

Shigeo Fukuda is another symbol of Japanese design and post-modern expressionism, winning more international poster prizes than any other Japanese designer ever. Admittedly influenced by the Bauhaus movement and notably Constructivism. Fukuda often addressed devastation and war with an irreverent Japanese tongue-in-cheek sense of humour, a prime example is the Victory peace poster, 1976 (fig.5). “Kawaii” literally translates to “cute” and is ever present in Japanese culture.

‘The Japanese are born into cute and raised with cute. They grow up to save money with cute (Miffy the bunny on Asahi Bank ATM cards), to pray with cute (Hello Kitty charm bags at Shinto shrines), to have sex with cute (prophylactics decorated with Monkichi the monkey, a condom stretched over his body, entreating, "Would you protect me?"). [ROACH, 1999]

Post-WWII was Japan’s renaissance in graphic design with the primary purpose of increasing Japan’s prosperity on a domestic and international scale, in terms of employment, trade and worldwide recognition. Japanese graphic designers were now hot property in a much more modernised and forward-thinking Japan, driven to succeed and almost ‘show-off’ to the world and tell the world Japan is not just the land of the Samurai.

‘Government regulations in the late fifties forced major manufacturers to develop design policies. Swept up in this economic growth of industries were designers who suddenly found their profession in demand.’ [THORNTON, 1991; p93]

This new found importance and confidence in Japanese design brought about the need for an international design conference to showcase the social role of graphic designers, interior designers, industrial designers and architects in Japan’s blossoming economy.

The Tokyo World Design conference of 1960 was Japan’s first international design conference. Influential designers from all over the world were invited to this exciting exhibition showcasing the best this fresh new industry had to offer, attendees included Herbert Bayer, Joseph Muller-Brockman and Saul Bass. Japanese graphic design clearly inspired and attracted some of the most revered graphic designers of the 20^thcentury but this is rarely mentioned in for example a modernism lecture, Bauhaus and constructivism are often heard but Japanese modernism less so.

‘For Müller-Brockmann in particular, WoDeCo was the beginning of his long relationship with Japan and Japanese design. It was his first visit to Japan, immediately following his departure from the Kunstgewerbeschule in Zurich. Müller-Brockmann had an affinity for Zen teachings, believing that objective design was closely related to Zen themes of empty space and the tension between the positive and negative.’  [THIS IS DISPLAY, 2011]

The Tokyo Olympic games on 1964 was an undeniably huge event in Japans recent history, especially in Japan rising from the ashes of WWII. Japan initially was set to host the 1940 games but this privilege was taken after an invasion of China, eventually the games were scrapped altogether because of a world war. The ’64 games was going to be watched by the entire world with Japan hosting countries from all over the world, a huge opportunity for Japan to show it could stand on it’s own two feet and also an opportunity to present cutting edge design and branding.  The design committee for the games was established in 1960 and Yusaku Kamekura’s iconic emblem of the five Olympic gold rings blended with the Japanese red sun was chosen as the Olympic logo. This is a further example of Japan as a land itself being just as iconic as the graphic design. It’s rare to find Olympic graphic design before or since the ‘64 games that merge the countries culture with design as prolifically as the Tokyo games. The Tokyo’64 Olympics was a huge step forward in modernist design in mainstream culture, comparing the logo to the previous logo of the 1960 games in Rome only illustrates this further. The objective of increasing Japanese international recognition was going to plan.

A question worth asking is why and how did Japanese style seem to have such a unique and experimental outlook compared to the rest of the world, in terms of composition, colour and concepts? Before modernity, art wasn’t hobbyist or an expressionist form of self discovery, it often had the sole purpose of being a portrait, a religious piece of work or even propaganda or some of personal interest for the client, especially so in Europe. This notion still obviously existed in Japan but looking deeper, it ‘s arguable Japan had a long established art of design which was much more hobbyist and expressionist with unique disciplines established long before modernism in the Edo period. These disciplines and cultural iconography such as the red sun, samurai, geisha and unique layout and type composition still show through in Japanese design from the 20^th century onwards. Modern Japanese design still calligraphy, colour and a strong pride in Japanese culture. Calligraphy for example was one of the first major imports from China in the 1800’s. Three principal styles of calligraphy were developed. The first style was ‘Kaisho’, a standard or regular script, the second, ‘Gyasho’ a more abbreviated and loose form, the third ‘Sosho’, a more expressive form often used for poetry and personal letters. In the present day, these styles still remain intact along with more contemporary forms such as Kanji, Katakana, Hiragana and Romaji. It’s arguable that this work is perhaps enjoyed more outside of Japan with the fact that most Europeans can’t read Japanese symbols so work is objectified as a piece of art in the purest sense – shapes and colour and enjoyed in such a way, instead of a means of communication.

During the mid 20^th century, technological restrictions in Japan often gave the design a recognisable quality and shaped the style. Often shapes and elements had great consideration of colour and an almost grungy line quality, one of the reasons why is because designers often had low budgets; often working with limitation of one or two colour lithographic prints, or three for rare occasions. The work process frequently involved photocopying and placing elements way larger than the original copy, creating an ephemeral, fuzzy line quality.

Studying Japanese graphic design, especially during the modernist movement and post WWII it’s clear how much Japanese design was inspired by the European design scene, especially Bauhaus. Infact during the 30s and 40s many Japanese art schools were opened to support the next generation and be inspired by the art scene around the world. Tsunehisa Kimura’s film poster for Ziguneir Weisen (1980) references Constructivism heavily with it’s angular lines, photomontage and type treatment.

‘Shin Kenchiku Kogei Gakuin (New Architecture and Industrial Arts School) was established in 1931 as a Japanese version of the Bauhaus.’ [THORNTON, 1991; p76]

It’s also clear the Japanese design scene was internationally recognised with notable international design conferences held in the 60s and 70s, winning international awards and acclaim and having ties with leaders of European design such as Muller-Brockman but it’s difficult to see this same inspiration being mirrored back in Europe. Looking at European design during the same period, the visual style almost seems unaffected. It still seems as if Japanese design was working in hibernation but its designers were clearly influenced by the west. A definite factor in this lack of synthesis between the Far East and Europe is a communication barrier. This same problem also possibly leads to the lack of awareness in European art schools of Japanese design history and its beauty and experimentation.

‘The free and easy flow of design exchange between Europe and America had difficulty reaching Japan. First there was the factor of distance from Japan to the West, and then there were formidable language problems for most Japanese.’ [THORNTON, 1991; p53]

In terms of legacy, the intense experimentation and at times secluded form of work in Japanese design led to design decades ahead of it’s time. A recent case study of this is Tsunehisa Kimuras photomontage for Pioneer Electronics, in 1979 titled Gan Hosoya. The poster consists of a superimposed Niagara Falls on the Ney York skyline, with copy reading “Sound is flooding our world”’ (fig. 6). This same poster has directly influenced the record cover Australian electro-punk band Cut Copy’s 2011 release, Zonoscope – A record cover winning numerous design awards (fig. 7). Kimura’s photomontage is also eerily reminiscent in the poster for Oblivion, A soon to be released sci-fi movie directed by Joseph Kosinski (fig. 8)

To conclude this essay, I feel Japanese design has clearly been influenced by the European and Western design scene but at the same time Japan has still had it’s own strong foundations, maybe more expressive and experimental than established design styles in Europe with less work for the church and much more personal work for personal exploration, these values still held true with the rise of modernist and lead to deeply cultural work with visual cues that have come to distinguish Japanese graphic design. The culture and the sense of humour shows through in even the darkest subjects, such as with the series of posters for the Hiroshima Appeals somehow managing to tackle an atomic bomb with grace and cheek. Japanese graphic design post WWII was a hugely inspired period for Japanese designers and and in turn Japan inspired others, unfortunately history hasn’t remembered this as it maybe should have and also inspires me - someone who has grown up being accustomed to seeing European graphic design in everyday life and being taken aback by so much of Japanese design and it’s beautiful, timeless and always surprising art.

Fig. 1

Ikko Tanaka

1961

Fig. 2

Takashi Kono

The Lady and the Beard

Directed by Yasujiro Ozu

1931

Fig. 3

NC State Campus, USA

Fig. 4

Ikko Tanaka

UCLA Festival poster

1981

Fig. 5

Shigeo Fukuda

Victory peace poster

1976

Fig. 6

Gan Hosoya

Poster for Pioneer Electronics

1979

Fig. 7

Cut Copy

‘Zonoscope’

Modular Recordings

2011

 

Fig. 8

Oblivion Movie Poster

Dir: Joseph Kosinski

2013

Bibliography

BELTING, H (2003) ‘ART HISTORY AFTER MODERNISM’, CHICAGO, THE UNIVERSITY OF CHICAGO PRESS

LUCIE-SMITH, E (1997) ‘MOVEMENTS IN ART SINCE 1945’, LONDON, THAMES AND HUDSON LTD

KOZAK GISELA, E & WIEDEMANN, J ‘JAPANESE GRAPHICS NOW!’, HOHENZOLLERNRING 53, TASCHEN

THORNTON S, R (1991) ‘JAPANESE GRAPHIC DESIGN’, SINGAPORE, LAURENCE KING LTD

LAMBIE, R (2012) ‘Ridley’s universal robots: artificial life in Alien, Blade Runner and Prometheus’, ENGLAND, DEN OF GEEK, AVAILABLE FROM <http://www.denofgeek.com/movies/alien/19074/ridley%E2%80%99s-universal-robots-artificial-life-in-alien-blade-runner-and-prometheus> [12/01/2013]

MARTINEZ, D (1998) ‘THE WORLDS OF JAPANESE POP CULTURE: GENDER, SHIFTING BOUNDARIES AND GLOBAL CULTURE (CONTEMPORARY JAPANESE SOCIETY), LONDON, CAMBRIDGE UNIVERSITY PRESS

GRONBERG, T (2003) ‘DESIGNS ON MODERNITY: EXHIBITING THE CITY IN 1920’S PARIS’, MANCHESTER, MANCHESTER UNIVERSITY PRESS

AMBROSE, G & HARRIS, P (2009) ‘THE FUNDAMENTALS OF GRAPHIC DESIGN’, SWITZERLAND, AVA PUBLISHING

RILEY MACBRIDE, S [2007] ‘FROM WEIMAR TO WAKE COUNTY’, UK, BLOGSPOT, AVAILABLE FROM <HTTP://BAUHAUS-RILEY.BLOGSPOT.CO.UK/2007/11/FROM-WEIMAR-TO-WAKE-VAKE-COUNTY.HTML> [14/01/2013]

ROACH, M [1999] ‘CUTE INC.’ SAN FRANCISCO, WIRED, AVAILABLE FROM < http://www.wired.com/wired/archive/7.12/cute.html> [14/01/2013]

ANON. [2011] ‘WORLD DESIGN CONFERENCE IN TOKYO’, BROOKLYN, KIND COMPANY, AVAILABLE FROM < http://www.thisisdisplay.org/information>

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Essay Plan: "In what ways does Japanese modernist design reflect the unique native particularities of Japanese culture?"

The essay question I'm going to be looking into is:

How does Japanese modernism reflect the unique native particularities of Japanese culture?


I've picked this topic as I've always been drawn towards Japanese design and culture and Japanese graphic design especially has really caught me off guard in the past year or so, I feel the sense of humour, colour palettes and layouts are noticeably different from a more European style we're accustomed to seeing in everyday life. I want to look deeper into Japanese culture and their sense of design, what inspires them and the unique sense of humour I've seen in works by designers such as Shigeo Fukuda. Also to research into whether it is in fact arguably different to European and Western design I'm used to seeing and why.

From the outset and these early stages before finding out more I've always thought Japanese design has almost been working in hibernation, in Europe and extendedly the whole Western world - the design is so samey-same, we all influence and basically copy each other. It seems we haven't studied Japan enough and they haven't studied us enough, consequently they have such a unique and noticably different design style which fascinates me. I need to find out if this theory could actually hold true and what other writers and designers think about this. If this is indeed the case, I want to increase awareness and argue of the stylistic influence Japanese design may have had which isn't celebrated enough with the Tokyo Design Conference in 1960 being a good example.



These are the books I'm going to be reading through. 'Movements in Art since 1945' and 'Japanese Graphic Design' in particular have been very useful.





Essay Plan:


Introduction to the essay and my reason for researching the topic. What I will be covering in the text

Brief outline of modernism- early 20th century and WW1 and WW2's it's effect on art and design in Europe brief. Influence of military occupation. Mentioning Europe and comparing to Japan because European design is what we've grown up with and see everyday.


Japanese modernisation and industrialisation. It's identity and cultural change. Wartime Japanese graphic design - Post war Japan and the significance and importance of artists in a post-war period.


20th century Japanese graphic design, early international recognition and influence. The need and desire for Japanese to establish design in Japan and Japan as a groundbreaking design community and not just the "land of the Samurai".Tokyo World Design conference 1960 and Tokyo Olympics 1964, chance to show off to the world and show post-war Japan as a forward thinking and thriving empire.

Unique and iconic characteristics of Japanese design, stemming from Japanese culture. Is it arguable Japanese culture reflects it's culture more than 'Western' design possibly does in terms of typography, layout and colour? For example Hiroshima Appeals posters

Japanese culture and sense of humour reflected often in it's design. Examples of this and quotes on Japanese sense of humour, does this happen elsewhere and in Europe?

Japanese being influenced by Russian formalists, constructivists and Bauhaus but in Art history and throughout 20th century design, it's hard to see the inspiration returned. Japan taking 'western' design and giving it a Japanese flavour.

Japanese graphic design today and its legacy

Conclusion. Does Japanese graphic design clearly express unique native particularities, short breakdown in which ways and why it's possibly so unique and fascinating in my opinion, overlooked in todays world?

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Final Essay: Content

­­Choosing a particular period from 1800 to the present, in what ways has art or design responded to the changing social and cultural forces of that period? (2 specific examples)

The particular period that will be discussed is the early 20^thcentury, and the changing social and cultural forces of that period having an effect on art, paying close attention to the changes in Germany and Russia. The end of the First World War, the Russian Revolution and modernism all had a distinct effect on art and society, including the Bauhaus and Constructivist movement. The origins and influence of these movements will be examined along with how they influenced each other.

The Russian Revolution is the collective term given to a series of Revolutions in Russia from around 1905 to 1917. The first notable revolution was The February Revolution, taking place in February of 1917 resulting in the fall of the Russian Empire and a Provisional Government being formed. At this point Russia was a capitalist country – basically meaning everyone’s money is his or hers. If you are rich you stay rich, and if you are poor you will stay poor. This meant there was noticeable gulf in class; you were either very rich or very poor.

While this was going on; the Bolshevik party who were led by Vladimir Lenin organized militias of workers into the “Red Party”. The Bolsheviks wanted to overthrow the government and create a ‘new and better’ Russia where everyone was equal. Money was to be shared and land was to be shared. Everyone would work to earn money and everyone would be content.

The October Revolution had a profound effect on Russia. The Bolshevik party led by Lenin overthrew the Provisional Government in St. Petersburg. Lenin and the Bolsheviks came into power. Civil war ensued between the Red (Bolshevik) and White (Anti-Bolshevik) army but communism was now taking spread in Russia. Around this time there was intense artistic experimentation taking place in Russia, especially in regards to art and design for post-revolution Soviet Russia.

‘Constructivism. A movement or ideology in abstract art that originated in Russia… and in the 1920s spread to the West, where it has subsequently been influential on a wide spectrum of artists. Constructivism is typically characterised by the use of industrial materials – such as glass, plastic and standardized metal parts – arranged in clear formal relationsips… some writers prefer to use the terms ‘Soviet Constructivism’ [CHILVERS, 2004]

The constructivist movement was in prominence around 1919 and was founded by Vladimir Tatlin in 1913. It was an ‘abstract movement which focused on art for the industrial age.’ [ART FORTUNE, 2011] “The constructivists, whose ideas represent the most sophisticated aspect of the Soviet avant-garde, viewed the artists as an “engineer” whose duty was to construct “useful objects”, much like a factory worker while actively participating in the building of a new society” [PETRIC, 1987; p5]

It was starting to become clear that art had a major role to play in society and politics in Russia - the most famous political example probably being El Lissitsky’s “Beat The Whites With The Red Wedge” from 1919 (fig. 1). The piece shows a red wedge piercing a white circular motif. Red became the symbol of revolution and of the Bolshevik, white was the symbol of anti-revolutionary forces.

‘When the revolution took place in Russia in 1917, it did not mean that the Soviet Union with its many components was immediately formed. A civil war erupted between the communists, the reds, and the royalists supporting the old regime, the whites. With that in mind, this becomes a stylized battle plan for the communist victory, rather than just some abstract geometric design.’ [Art In The Picture, 2012]

So art was influencing politics, politics was influencing art and both were developing and shaping Russia together.

Russia was becoming more forward thinking and industrialized but at the same time it kept Lenin’s views on equality, and creating the same product for all. ‘Treating workers' housing in the same way as they would bourgeois apartments’ [CAMPBELL; 1971]

New technology was something the constructivists were enthusiastic about; this is exemplified by Rodchenko’s self-portrait (fig. 2) using elements of new technology such as photography and negatives. Similarly Russian filmmaking was becoming more avant-garde and groundbreaking with “October: Ten Days That Shook The World” by Sergei Eisenstein. It ‘demonstrates his ground-breaking artistry utilizing “a kind of montage that helped him to construct epic works which promoted the twin-edged theme of the masses entering history and history entering the masses’ [ROSENSTONE, 2006]

The Eiffel Tower itself, built in 1889 is a cultural symbol of the mass urbanization and modernization, which was taking place in Europe at the time, stemming from the late 19^th century. It was this urbanization and idea of ‘constructing society’, which was noted by the constructivists who also wanted to be forward thinking and emulate, and maybe surpass those heights. An example of this is Tatlin’s “Monument to the Third International” in 1919 (fig. 3).

‘Designed to be higher than the other great steel icon of modernity, the Eiffel Tower in Paris… Tatlin’s tower quickly became a legend internationally, even though (or because) it was never built. It seemed to represent the ultimate daring fashion of abstract form, modern technology and revolutionary politics. It may have influenced Gropius’s Monument to the March Dead of 1920’ [KENNEDY, 2006; P254]

Gropius later founded the Bauhaus school, so developments in Constructivism were having an inspiring effect on one of the most pioneering architects of modern times and possibly the foundations of Bauhaus’ birth.

After Germanys defeat in the First World War, the German monarchy fell. A new more liberal Weimar Republic took over and came to power in 1919. Similar to how the Russian Revolution overthrew the previous monarchy and paved the way for new beginnings. Along with a changing Germany, the censorship of the past was abolished, allowing a period of intense artistic experimentation, something which was suppressed in previous years.

This idea of change and “function before form” was the basis of the birth of the Bauhaus school, along with probably being inspired by the developments in Russia and the constructivist movement. Bauhaus at the time literally stood for “house of construction” and was formed by Walter Gropius in Weimar. It has had a profound influence on architecture, graphic design, interior design and many other disciplines of art. Examples such as Bauhaus Journal 1 (1926) designed by Herbert Bayer illustrate the influence Bauhaus not only had on graphic design but architecture.  Showing ‘Gropius’ iconic buildings for the Dessau Bauhaus: a potent image’ [BARTRAM, 2004; P56] along with the grid system they incorporated to layout, which is a staple of contemporary graphic design. Bauhaus had the same ethos of the constructivist artists - an idea of shaping and constructing a new society.

The Bauhaus was one of the first schools of art and design to teach multi-disciplined artists in a modern manner. This makes it very similar to Vkhutemas, the Russian state art and technical school founded in 1920, as they both trained artists in a modern manner, lecturing them on what we nowadays regard as basic principles; such as colour theory, layout etc. Both schools were also born out of a political and cultural change in their respective countries, both had very well renowned artists lecturing at the schools, artists such as Walter Gropius, Hannes Meyer, El Lissitzky, Alexander Rodchenko and Varvara Stepanova. Both schools also flourished at the same period of time.

Interestingly, both schools also worked very closely together and were definitely in regular contact - the avant-garde post-revolution Russian art and design clearly influenced the birth of Bauhaus in the first place. El Lissitzky, a lecturer at Vkhutemas had work ‘shown in the 1922 First Russian Art Exhibition in Berlin. Subsequently he had contact with the Dadaists, De Stijl and Bauhaus artists’ [GRAY, 1962]

Bauhaus had a major influence on many different fronts but it was to be an abrupt end for the school.

‘By 1931 the Nazi party dominated the Dessau city council, and in 1932 cancelled all Bauhaus faculty contracts. Mies van der Rohe again moved the school to an empty factory in Berlin, but continued Nazi harassment made the continuance impossible. The Bauhaus closed on August 10, 1933.’ [ANNESERDESIGN, 1999]

Similarly, Vkhutemas and the Russian avant-garde movement were both also damaged significantly by the ultimate rejection from Stalin and his regime. The more kitsch style of socialist realism was in ascension and unfortunately the ground breaking artistic movements in both Germany and Russia were pretty much disbanded because of social and political changes. Just how both were pretty much born out of political and social changes.

It’s also clear that the social changes in Russia and the artistic Constructivist movements in Russia had a clear influence on the birth of Bauhaus and the teachings there. Both were strikingly alike. A number of Constructivists even taught at Bauhaus and translated Vkhutemas teachings to the Bauhaus. ‘The Vkhutemas Art School was as experimental and innovative as the Bauhaus.’ [BARTRAM, 2004; P47] It’s hard to be on an art course and not hear about Bauhaus but rather unfairly very few would say they’re aware of Vkhutemas and in lesser terms, constructivism, especially so in the Western world.

(Fig. 1)

(Fig. 2)

(Fig. 3)
BIBLIOGRAPHY

WOODFIN, R &ZARATE, O (2009) ‘MARXISM A GRAPHIC GUIDE’, LONDON, ICON BOOKS

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