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About This Artwork
Pole Vault (Stabhochsprung), 1936
Gelatin silver print
28.9 x 39.5 cm (11 3/8 x 15 9/16 in.)
Wirt D. Walker Endowment, 1989.486
Not on Display
Initially trained as painter and graphic designer, the Russian artist Alexander Rodchenko was inspired to turn to photography by German Dadaist collage. As a member of the Productivist group in the wake of the Bolshevik Revolution, he sought to make art that was socially and politically useful rather than purely theoretical or formal. Rodchenko believed his photographs of industrial urban environments, known for their dramatic angles and extreme close-ups, could revolutionize the way people saw the world, thereby helping to usher in the new era of the communist state.
AIC, "Sights Unseen: Photographs from the Permanent Collection," October 16-March 13, 1994.
AIC, "The Human Form Divine: The Body as Seen by the Camera," February 8–June 1, 2003. (Colin Westerbeck)
AIC, Gallery 10 Permanent Collection Rotation, November 3, 2012–February 6, 2013.
“Alexander Rodtschenko: Möglichkeiten der Photographie.” 1982. Exh. cat. Kölin: Galerie Gmurznska. pl. 2.
Karginov, German. 1979. “Rodchenko.” Translated (from the Hungarian) by Elisabeth Hoch. London; New York: Thames and Hudson. pl. 189. (variation)
Wolf, Sylvia. 1994. "Sights Unseen: Photographs from the Permanent Collection." Exh. cat. The Art Institute of Chicago. n.pag.
Wood, James N. and Teri J. Edelstein. 1997. "The Art Institute of Chicago: The Essential Guide." Publications Department of the Art Institute of Chicago. p 182.
Wood, James N. 2000. "Treasures from The Art Institute of Chicago." Hudson Hills Press, Inc. p. 274.
Wood, James N. 2003. "The Art Institute of Chicago: The Essential Guide - Revised Edition." Publications Department of the Art Institute of Chicago. p 182.