Pablo Ruiz Picasso (1881-19730) La Guernica (1937) Modernism Space-Time-Montage Modernism Space-Time-Montage ALMANAC: These events are all related: • Einstein: Theory of Special Relativity (1905) • Frank Lloyd Wright’s Unity Temple (1906) • Radiation discovered (Mme. Curie). • Picasso: Les Damiselles D’Avignon (1907) • Le Corbusier: Ville Savoie (1929) • Sergei Eisenstein’s Battleship Potemkin (1925) • Bauhaus (1919) • Primitivism: Art movements discover African and Polynesian art Coincides with: • Communist Revolution: Russia becomes Soviet Union (1917) • Socialism/ Workers’ movement in Europe and USA • WW I + Versailles Treaty (1918) • Wall Street Crash: World financial crises (1929) Modernism Space-Time-Montage Clasicism and Modernism • Academy • Highly prescriptive and figural • Referenced in time/past • Stationary/about Rules • Re-imagining the past • Politically Conservative • Dogmatic • Collaborative think-groups • Highly Abstract • Referenced in Space • Fluid/about process • Imagining the future • Politically Socialist/Marxist • Rational • Movement replaces static points of view. • Perspective loses relevance. • Process over result: Space is constantly reconstructed. • Collage/Montage creates time-lapses that become integral to the art piece/design. • “Primitive’ cultures offer alternative visions of relativity (Maya, African, ect). Modernism Space-Time-Montage CUBISM • Looking at a subject from all angles…all at once! • Registering not just what the eye sees but what the mind knows to be there as well. • Paul Cezanne was the first to express nature as “it really was” and “not as it appeared to be”. • Cezanne’s work was the basis for Picasso and Braque’s experiments in Cubism. • Picasso, Braque and Juan Gris developed Cubism from Cezanne’s geometric and spatial synthesis of nature. Manipulating time to describe Space Cubism PAINTING: Pablo Picasso Montage FILM: Eisenetein’s Battlship Potemkin Constructivism PHOTOGRAPHY: Alexander Rodchenko Space, Time, Montage Caspar David Friedrich: The Great Reserve (1832): Symbolism yields to timelessness ) Cezanne: Show Reality not as appears but rather as one knows it to be CUBISM Cezanne: Show Reality not as it appears but rather as one knows it to be CUBISM Single Frame: One instance/ time=zero CUBISM Multiple Frames: Infinite instances: Space is relative to Time. CUBISM Multiple Frames in Space measured over time collapsed onto a Montaged plane. CUBISM Paul Gaugin: Tahitian Women (1906): Primitivism Using borrowed cultural models to alter the rules of established canons. Pablo Picasso: Reference of African Masks: Primitivism as an alternative time system Using borrowed cultural models to alter the rules of established canons. Pablo Picasso: Marie Therese (1938) Pablo Picasso: Les Damoiselles D’ Avignon (1907) Pablo Picasso: Les Damoiselles D’ Avignon (1907) Pablo Picasso: Head of Man (1908) .

1. Pablo Ruiz Picasso (1881-19730)
La Guernica (1937)
Modernism
Space-Time-Montage
Modernism
Space-Time-Montage
ALMANAC: These events are all related:
• Einstein: Theory of Special Relativity (1905)
• Frank Lloyd Wright’s Unity Temple (1906)
• Radiation discovered (Mme. Curie).
• Picasso: Les Damiselles D’Avignon (1907)
• Le Corbusier: Ville Savoie (1929)
• Sergei Eisenstein’s Battleship Potemkin (1925)
• Bauhaus (1919)
• Primitivism: Art movements discover African and Polynesian
art
Coincides with:
• Communist Revolution: Russia becomes Soviet Union (1917)
• Socialism/ Workers’ movement in Europe and USA
• WW I + Versailles Treaty (1918)

2. • Wall Street Crash: World financial crises (1929)
Modernism
Space-Time-Montage
Clasicism and Modernism
• Academy
• Highly prescriptive and figural
• Referenced in time/past
• Stationary/about Rules
• Re-imagining the past
• Politically Conservative
• Dogmatic
• Collaborative think-groups
• Highly Abstract
• Referenced in Space
• Fluid/about process
• Imagining the future
• Politically Socialist/Marxist
• Rational

3. • Movement replaces static points of view.
• Perspective loses relevance.
• Process over result: Space is constantly reconstructed.
• Collage/Montage creates time-lapses that become integral to
the art piece/design.
• “Primitive’ cultures offer alternative visions of relativity
(Maya, African, ect).
Modernism
Space-Time-Montage
CUBISM
• Looking at a subject from all angles…all at once!
• Registering not just what the eye sees but what the mind
knows to be there as well.
• Paul Cezanne was the first to express nature as “it really was”
and “not as it appeared to be”.
• Cezanne’s work was the basis for Picasso and Braque’s
experiments in Cubism.
• Picasso, Braque and Juan Gris developed Cubism from
Cezanne’s geometric and spatial synthesis of nature.

4. Manipulating time to describe Space
Cubism
PAINTING: Pablo Picasso
Montage
FILM: Eisenetein’s Battlship Potemkin
Constructivism
PHOTOGRAPHY: Alexander Rodchenko
Space, Time, Montage
Caspar David Friedrich: The Great Reserve (1832): Symbolism
yields to timelessness )
Cezanne: Show Reality not as appears but rather as one knows it
to be
CUBISM
Cezanne: Show Reality not as it appears but rather as one knows
it to be
CUBISM
Single Frame: One instance/ time=zero

5. CUBISM
Multiple Frames: Infinite instances: Space is relative to Time.
CUBISM
Multiple Frames in Space measured over time collapsed onto a
Montaged plane.
CUBISM
Paul Gaugin: Tahitian Women (1906): Primitivism
Using borrowed cultural models to alter the rules of established
canons.
Pablo Picasso: Reference of African Masks: Primitivism as an
alternative time system
Using borrowed cultural models to alter the rules of established
canons.
Pablo Picasso: Marie Therese (1938)

6. Pablo Picasso: Les Damoiselles D’ Avignon (1907)
Pablo Picasso: Les Damoiselles D’ Avignon (1907)
Pablo Picasso: Head of Man (1908)
Pablo Picasso: A Girl from Avignon (1907)
Pablo Picasso: Three Figures (1907)
Pablo Picasso: Marie Therese Walter (1937)
Pablo Picasso: Marie Therese Walter (1939)
Pablo Picasso: Dora Maar (1960’s)
Pablo Picasso: Dora Maar (1962)

7. Dora Maar by Man Ray (1937)
Dora Maar and Pablo Picasso by Man Ray (1937)
Pablo Picasso: guitar (1907)
Pablo Picasso: Housesnon a Hill (1909)
Pablo Picasso: Factory at Horta De Ebro (1909)
Pablo Picasso: Reservoir at Horta De Ebro (1909)
Pablo Ruiz Picasso
La Guernica (1937)
Montage derived from Cubism: Time and Space collapsed onto a
plane
Vladimir Tatlin: Monument to the Third International (1922)
CONSTRUCTIVISM

8. CONSTRUCTIVISM
• Rejects Art as an autonomous act and posits that it must be a
practice that addresses a social purpose.
• Extremely and deeply influential on both Bauhaus and De Stijl
• Constructivists artists invent the montage via the photo-
montage, later employed cinematografically by Eisenstein in
his film (1925) Battleship Potemkin
• Productivist Constructivism such as Rodchenko’s and Tatlin’s
strived for Art to become a part of Industrial Production
(much like the Bauhaus was doing at that time)
• Constructivism was the basis for Deconstructivism found in
the work of Coop Himmelblau, Zaha Hadid and Rem
Koolhaas
Iakov Chernikov: 101 Fantasies (1920’s)
CONSTRUCTIVISM
Iakov Chernikov: 101 Fantasies (1920’s)
CONSTRUCTIVISM
Iakov Chernikov: 101 Fantasies (1920’s)

9. CONSTRUCTIVISM
Iakov Chernikov: 101 Fantasies (1920’s)
CONSTRUCTIVISM
EL Lissitzky: Proun Series (1920’s)
CONSTRUCTIVISM
EL Lissitzky: Proun 3A (1920’s)
CONSTRUCTIVISM
Alexander Rodchenko
CONSTRUCTIVISM
Alexander Rodchenko: Spatial Construction (1920)
CONSTRUCTIVISM
Alexander Rodchenko: Spatial Construction (1920)

10. CONSTRUCTIVISM
Alexander Rodchenko: Spatial Construction (1920)
CONSTRUCTIVISM
CONSTRUCTIVISM
RODCHENKO’S PHOTOGRAPHIC COMPOSITIONAL
LANGUAGE
An open diagonal composition (challenging the orthogonal
nature of the Frame) intended to reflect the dynamics and
power of the People under a new State and Society.
It’s not about “the diagonal” as a graphic feature: It’s an idea
about divorcing the scene from the tyranny of The Frame
All these techniques were new and later became a standard of
professional photography, to this day:
• Angle shots
• Top and bottom views
• High contrast graphics
Alexander Rodchenko: Photomontage (1920’s)
CONSTRUCTIVISM

11. Alexander Rodchenko (1930’s)
CONSTRUCTIVISM
Alexander Rodchenko: Photomontage (1920’s)
CONSTRUCTIVISM
Alexander Rodchenko: Costume Design (1920’s)
CONSTRUCTIVISM
Alexander Rodchenko (1920’s)
CONSTRUCTIVISM
Alexander Rodchenko (1920’s)
CONSTRUCTIVISM
Alexander Rodchenko (1920’s)
CONSTRUCTIVISM

12. Alexander Rodchenko (1920’s)
CONSTRUCTIVISM
Alexander Rodchenko (1920’s)
CONSTRUCTIVISM
Alexander Rodchenko (1920’s)
CONSTRUCTIVISM
Alexander Rodchenko (1920’s)
CONSTRUCTIVISM
Alexander Rodchenko (1930)
CONSTRUCTIVISM
Alexander Rodchenko (1930’s)
CONSTRUCTIVISM

13. Alexander Rodchenko (1930’s)
CONSTRUCTIVISM
Alexander Rodchenko (1930’s)
CONSTRUCTIVISM
Alexander Rodchenko (1930’s)
CONSTRUCTIVISM
Alexander Rodchenko (1930’s)
CONSTRUCTIVISM
Alexander Rodchenko (1930’s)
CONSTRUCTIVISM
Alexander Rodchenko (1930’s)
CONSTRUCTIVISM

14. Alexander Rodchenko (1930’s)
CONSTRUCTIVISM
Alexander Rodchenko: Girl with a Leica (1930’s)
CONSTRUCTIVISM
Alexander Rodchenko
G. Smulevich: Constructivist Composition
http://www.pbase.com/gerards/selected_photographs
http://www.pbase.com/gerards/selected_photographs
G. Smulevich: Constructivist Composition
G. Smulevich: Constructivist Composition
G. Smulevich: Constructivist Composition

15. G. Smulevich: Constructivist Composition
G. Smulevich: Constructivist Composition
G. Smulevich: Constructivist Composition
G. Smulevich: Constructivist Composition
Single Frame: One instance/ time=zero
CALSSICAL FRAMED VIEW
Ridley Scott: The Duelists (1977))
Romanticism: Single Frame of an idealized Reality. Space
defined by emotion.
Multiple Frames Montage’d with gaps that manipulate Time.
Reality is Constructed
CUBISM

16. MONTAGE SPACE
Modernism: Multiple Key Scenes montaged into a sequence.
Space defined by TIME
Battleship Potemkin (Sergei Eisenstein, 1925)
MONTAGE SPACE
Battleship Potemkin (Sergei Eisenstein, 1925)
MONTAGE SPACE
Battleship Potemkin (Sergei Eisenstein, 1925)
MONTAGE SPACE
Battleship Potemkin (Sergei Eisenstein, 1925)
MONTAGE SPACE
Battleship Potemkin (Sergei Eisenstein, 1925)
MONTAGE SPACE

17. Battleship Potemkin (Sergei Eisenstein, 1925)
MONTAGE SPACE
Battleship Potemkin (Sergei Eisenstein, 1925)
MONTAGE SPACE
Battleship Potemkin (Sergei Eisenstein, 1925)
MONTAGE SPACE
Battleship Potemkin (Sergei Eisenstein, 1925)
MONTAGE SPACE
Le Corbusier: Ville Savoie (1928)
MONTAGE SPACE
Le Corbusier: Ville Savoie (1928)
MONTAGE SPACE

18. Le Corbusier: Ville Savoie (1928)
MONTAGE SPACE
MONTAGE SPACE
Le Corbusier: Ville Savoie (1928)
The Ramp here becomes a device for the reading of space as a
continuous
experience, changing angles over time as one moves along it.
It’s a Cubist
Promenade that works as a montage of moments (key frames)
with continuity
time (movement along ramp) between those Key Frame
Moments.
First) Watch Battleship Potemkin
Look for the moments of Montage and time
manipulation. These are much more than simple
cut-to-scene instances but rather frame-sets that
describe one narrative moment from a variety of
angles/camera positions.
Fourth) Expository Essay (200 words min.)
Discuss your understanding of how space can be described
with the use of montage, controlling time within a frame.
It must address all three media and related references.

19. Second) 12x18 Photograph/ TECHNOLOGY+LANDSCAPE
This single photograph must contain a “construction” that
challenges
a static single-view frame. Rather than a Romanticist wishful
version
of reality, this time you are constructing a composition that
wants to
include everything you know about your subject. DO NOT
JUST
SHOOT RANDOME MEANINGLESS DIAGONALS
12x18 Photographs/ TECHNOLOGY+LANDSCAPE
CHALLENGE THE FRAME as part of your narrative!
It’s not about “the diagonal” as a graphic feature: It’s an idea
about divorcing the scene from the tyranny of The Frame.
DO NOT: Simply twist your camera to create instant
Diagonals. A crooked photograph is just that.
DO NOT: Use perspective-as-diagonals. ALL vanishing lines
are diagonal to the frame. “Found” diagonals are usually
usesless for this pursuit. YOU must “construct” your own.
DO NOT: Simply find diagonal lines in a scene (such as in a
perspective) and call that
“constructivist”. It won’t be. YOU MUST MOVE/ALIGN
YOUR CAMERA TO CONSTRUCT
YOUR COMPOSITION.
DO NOT: Simply try to recreate a scene from the film! That is
NOT the point of this
exercise.

20. G. Smulevich. Found Diagonals: DO NOT DO THIS FOR THIS
EXERCISE
G. Smulevich. Perspective Diagonals: DO NOT DO THIS FOR
THIS EXERCISE
G. Smulevich. Perspective Diagonals: DO NOT DO THIS FOR
THIS EXERCISE
G. Smulevich. Perspective Diagonals: DO NOT DO THIS FOR
THIS EXERCISE
An Expository Essay: Description
• A clear thesis or controlling idea that establishes and
sustains your focus.
• An opening paragraph that introduces the thesis.
• Body paragraphs that use specific evidence to illustrate
your informative or analytic points.
• Smooth transitions that connect the ideas of adjoining
paragraphs in specific, interesting ways.
• A conclusion that emphasizes your central idea without

21. being repetitive.
An Expository Essay (300 words minimum)
That’s less than a page.
Structure of the Essay (required):
1)Introductory paragraph with a clear, concise thesis or
idea that connects the film, painting and photography
(yours) in relation to a “Space, Time and Montage”.
2) a body paragraph that offer evidence or examples and
analysis connecting that evidence to the your idea.
3) A concluding paragraph that sums up the essay by
reevaluating the thesis in light of the evidence discussed in
the essay’s body. THIS PART IS VERY IMPORTANT.
ENDE
Kasimir Malevitch (1920’s)
SUPREMATISM
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