How graphic design shaped the Russian Revolution

Magazine illustration, Zagadka stariku (The Old Man’s Puzzle) in Bezbozhnik u stanka (Atheist at the Lathe), 1926, by Aleksandr Deineka

Zagadka stariku (The Old Man’s Puzzle) in Bezbozhnik u stanka (Atheist at the Lathe), 1926, and MKVKP (publisher). The Wolfsonian – Florida International University, Miami Beach, Florida, The Mitchell Wolfson, Jr Collection

(Image credit: Aleksandr Deineka)

By Pei-Ru Keh

last updated 6 October 2022

Propaganda today may come in a much more subtle and insidious form, but once not too long ago, nationalistic messages were sent out to the public loud and clear. The eye-catching graphic design of early 20th-century Soviet propaganda is an especially memorable example, and currently in the spotlight at The Wolfsonian – Florida International University, where two overlapping shows are in progress.

‘Red and Black: Revolution in Soviet Propaganda Graphics’ (5 April – 5 August) is an installation of 20 rare books, periodicals and book and portfolio plates, while ‘Construction Revolution: Soviet Propaganda Posters Between the World Wars’ (13 April – 12 August), organised by Maine’s Bowdoin College Museum of Art, shows how graphic designers interpreted the revolution’s utopian ideals for the communist dictatorship.

Together, both shows highlight the ties between culture and revolutionary ideology in the years right after the 1917 Russian Revolution – all the while showcasing the evolution and creation of a distinct graphic style.

An image showing worker harvesting the field. Gather the Harvest, 1931, by Dmitrii Moor — *Gather the Harvest, 1931, by Dmitrii Moor. The Wolfsonian – Florida International University, Miami Beach, Florida, The Mitchell Wolfson, Jr Collection*

With over 50 Soviet-era posters from the private collection of Svetlana and Eric Silverman, and rarely seen works possessed by The Wolfsonian, the ‘Construction Revolution’ exhibition includes examples by several influential members of the Soviet avant-garde, such as Vladimir Mayakovsky, Gustav Klutsis and Aleksandr Rodchenko.

The unique visual language of the posters not only encapsulates this volatile period in Russian history, but also shows how the communist ethos was translated into an accessible, fervent iteration of public art. Guided strictly by the state, yet still displaying a degree of artistic experimentation, the historic significance of these posters is especially poignant when viewed against the backdrop of politics today.

‘These works speak to the paradox of the Soviet Union during its early decades, when utopianism went hand-in-hand with manipulation,’ says Jon Mogul, Wolfsonian associate director of curatorial and education. ‘There is an undeniable sense of excitement, optimism, and experimentation in these images, though they also convey the sanitised and one-sided version of reality that contributed to the consolidation of a brutally repressive dictatorship.’

Dlia golosa (For Reading Out Loud), 1923, by El Lissitzky (designer), Vladimir Mayakovsky (author), and Gosudarstvennoe Izdatel’stvo (publisher) — *Dlia golosa* (For Reading Out Loud), 1923, Vladimir Mayakovsky (author), and Gosudarstvennoe Izdatel’stvo (publisher)*. The Wolfsonian – Florida International University, Miami Beach, Florida, The Mitchell Wolfson, Jr Collection*

Working Men and Women – Everyone to the Election of Soviets, 1930, by Gustav Klutsis — *Working Men and Women – Everyone to the Election of Soviets*, 1930, by Gustav Klutsis. Collection of Svetlana and Eric Silverman

Let Us Build a Dirigible Fleet in Lenin’s Name, 1931, by Georgii Kibardin — *Let Us Build a Dirigible Fleet in Lenin’s Name*, 1931, by Georgii Kibardin. Collection of Svetlana and Eric Silverman

International Working Women’s Day, 1930, by Valentina Kulagina — *International Working Women’s Day*, 1930, by Valentina Kulagina. Collection of Svetlana and Eric Silverman

Down with Kitchen Slavery, 1929, by Grigorii Shegal — *Down with Kitchen Slavery*, 1929, by Grigorii Shegal. Collection of Svetlana and Eric Silverman

For the Proletarian Park of Culture and Leisure, 1932, by Vera Gitsevich — *For the Proletarian Park of Culture and Leisure*, 1932, by Vera Gitsevich. Collection of Svetlana and Eric Silverman

Death to World Imperialism, 1919, by Dmitrii Moor — *Death to World Imperialism*, 1919, by Dmitrii Moor. Collection of Svetlana and Eric Silverman

Women Workers, Take up Your Rifles, 1917, artist unknown — *Women Workers, Take up Your Rifles*, 1917, artist unknown. Collection of Svetlana and Eric Silverman

INFORMATION

‘Red and Black: Revolution in Soviet Propaganda Graphics’ is on view until 5 August. ‘Construction Revolution: Soviet Propaganda Posters Between the World Wars’ is on view until 12 August. For more information, visit The Wolfsonian website

ADDRESS

The Wolfsonian
Florida International University
1001 Washington Avenue
Miami Beach

VIEW GOOGLE MAPS

TOPICS

Pei-Ru Keh is the US Editor at Wallpaper*. Born and raised in Singapore, she has been a New Yorker since 2013. Pei-Ru has held various titles at Wallpaper* since she joined in 2007. She currently reports on design, art, architecture, fashion, beauty and lifestyle happenings in the United States, both in print and digitally. Pei-Ru has taken a key role in championing diversity and representation within Wallpaper's content pillars and actively seeks out stories that reflect a wide range of perspectives. She lives in Brooklyn with her husband and two children, and is currently learning how to drive.