中文简介：

通过亚历山大·罗德钦科（Aleksandr Rodchenko，1891-1956）的摄影作品，人们对斯大林时期苏联的技术、现代主义和国家权力之间的复杂关系有了新的理解。

阿格拉娅·K·格列波娃（Aglaya K. Glebova）追溯了摄影在苏联早期的意义变化，重新考虑了先锋艺术后期的艺术与政治之间的关系。亚历山大·罗德钦科是一位多才多艺的俄罗斯艺术家，也是建构主义的创始人之一，他将摄影视为一种革命性的现代性媒介。然而，他在20世纪20年代末至30年代末的摄影作品表现出了对不同绘画语言的广泛探索。

在苏联实施**个五年计划的极端变革背景下，罗德钦科的摄影作品对他自己的现代主义承诺提出了质疑。本书的核心是罗德钦科1933年关于白海-波罗的海运河的摄影文章，该运河是**批古拉格集中营的所在地之一。格列波娃仔细解读了罗德钦科的摄影作品，揭示了一种令人惊讶的非主流实践，并揭示了相邻媒体的实验，包括罗德钦科与妻子瓦尔瓦拉·斯捷潘诺娃（Varvara Stepanova）进行的合作设计工作。

英文简介：

Through the lens of Aleksandr Rodchenko's photography, a new and provocative understanding emerges of the troubled relationship between technology, modernism, and state power in Stalin's Soviet Union

Tracing the shifting meanings of photography in the early Soviet Union, Aglaya K. Glebova reconsiders the relationship between art and politics during what is usually considered the end of the critical avant-garde. Aleksandr Rodchenko (1891–1956), a versatile Russian artist and one of Constructivism's founders, embraced photography as a medium of revolutionary modernity. Yet his photographic work between the late 1920s and the end of the 1930s exhibits an expansive search for a different pictorial language.

In the context of the extreme transformations carried out under the first Five-Year Plans, Rodchenko's photography questioned his own modernist commitments. At the heart of this book is Rodchenko's infamous 1933 photo-essay on the White Sea–Baltic Canal, site of one of the first gulags. Glebova's careful reading of Rodchenko's photography reveals a surprisingly heterodox practice and brings to light experiments in adjacent media, including the collaborative design work he undertook with Varvara Stepanova, Rodchenko's partner in art and life.