Bibliography for HART3102 Russian Art and Culture: Realism and Avant-Garde, 1900-1953 BETA

A. Kostenevich. 2005. ‘Moscow Two Great Collectors: Shchukin and Morozov’. In Russia!: Nine Hundred Years of Masterpieces and Master Collections, 238–50. New York: Guggenheim Museum.

Aleksandr Rodchenko. 1989. ‘Against the Synthetic Portrait, for the Snapshot’ (1928)’. In Photography in the Modern Era: European Documents and Critical Writings, 1913-1940, 238–41. New York: Metropolitan Museum of Art.

Alison Hilton. 1994. ‘Remaking Folk Art: From Russian Revival to Proletcult’. In New Perspectives on Russian and Soviet Artistic Culture, 80–94. Basingstoke: Macmillan.

Alison, Hilton. 2014. ‘Serov, Bakst, and the Reinvention of Russia’s Classical Heritage’. In From Realism to the Silver Age: New Studies in Russian Artistic Culture : Essays in Honor of Elizabeth Kridl Valkenier, edited by Rosalind P. Blakesley and Margaret Samu, Studies of the Harriman Institute:152–68. DeKalb, IL: NIU Press.

Alison Hilton. n.d. ‘Folk Art and Social Ritual’. In Picturing Russia: Explorations in Visual Culture, edited by Valerie A. Kivelson and Joan Neuberger, 96–99. New Haven, Conn: Yale University Press. http://www.jstor.org/stable/j.ctt5vm1n6.23?seq=1#page_scan_tab_contents.

Anděl, Jaroslav, Richard Andrews, Milena Kalinovska, Henry Art Gallery, Walker Art Center, and Gosudarstvennai͡a Tretʹi͡akovskai͡a galerei͡a. 1990. Art into Life: Russian Constructivism, 1914-1932. New York: Rizzoli.

Andrei Zhadanov et al. 1988. ‘Extracts of Contributions to the 1st All-Union Congress of Soviet Writers’. In Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934, Rev. and enl. ed, 290–97. New York: Thames and Hudson.

Anon. 1989. ‘Program of the October Photo Section’. In Photography in the Modern Era: European Documents and Critical Writings, 1913-1940, 238–85. New York: Metropolitan Museum of Art.

Anthony Swift. 1998. ‘The Soviet World of Tomorrow at the New York World’s Fair, 1939’. The Russian Review 57 (3): 364–79. http://www.jstor.org/stable/131952.

Anysley, Jeremy. 1994. ‘Pressa Cologne, 1928: Exhibitions and Publication Design in the Weimar Period’. Design Issues 10 (3): 52–76. https://doi.org/10.2307/1511692.

Arvatov, Boris, and Christina Kiaer. 1997. ‘Everyday Life and the Culture of the Thing (Toward the Formulation of the Question)’. October 81: 119–28. https://doi.org/10.2307/779022.

Barron, Stephanie, Maurice Tuchman, Los Angeles County Museum of Art, and Hirshhorn Museum and Sculpture Garden. 1980. The Avant-Garde in Russia, 1910-1930: New Perspectives. Los Angeles ; distributed `Cambridge, Mass.’ ; distributed `London’: Los Angeles County Museum of Art : Distributed by MIT.

Blakesley, Rosalind P. 2016. Russia and the Arts: The Age of Tolstoy and Tchaikovsky. London: National Portrait Gallery.

Bonnell, Victoria E. 1991. ‘The Representation of Women in Early Soviet Political Art’. Russian Review 50 (3): 267–88. https://doi.org/10.2307/131074.

Bowlt, John E. 1973. ‘Nikolai Ryabushinsky: Playboy of the Eastern World’. Apollo: The International Magazine of Art & Antiques 98: 486–93. http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,shib&db=asu&AN=26990998&site=ehost-live&scope=site.

———. 1977. ‘Constructivism and Russian Stage Design’. Performing Arts Journal 1 (3): 62–84. https://doi.org/10.2307/3245250.

———. 1979. The Silver Age, Russian Art of the Early Twentieth Century and the ‘World of Art’ Group. Vol. ORP studies in Russian art history. Newtonville, Mass: Oriental Research partners.

———. 1987. ‘Stage Design and the Ballets Russes’. The Journal of Decorative and Propaganda Arts 5 (Summer). https://doi.org/10.2307/1503934.

———. 1989. ‘Some Thoughts on the Condition of Soviet Art History’. The Art Bulletin 71 (4): 542–50. https://doi.org/10.2307/3051268.

Bowlt, John E., Matthew Drutt, Deutsche Guggenheim Berlin, Royal Academy of Arts (Great Britain), Peggy Guggenheim Collection, and Solomon R. Guggenheim Museum. 1999. Amazons of the Avant-Garde: Alexandra Exter, Natalia Goncharova, Liubov Popova, Olga Rozanova, Varvara Stepanova, and Nadezhda Udaltsova. London: Royal Academy of Arts.

Bowlt, John E., Nicoletta Misler, E. N. Petrova, and Marcello Francone. 2013. The Russian Avant-Garde: Siberia and the East : [Florence, Palazzo Strozzi, 27 September 2013-19 January 2014]. Edited by Vincenza Russo. First edition. Milano, Itally: Skira.

Brumfield, William Craft. 1991. The Origins of Modernism in Russian Architecture. Berkeley: University of California Press.

Buchloh, Benjamin H. D. 1984. ‘From Faktura to Factography’. October 30 (Autumn): 82–119. https://doi.org/10.2307/778300.

C. Ely. 2002. ‘A Portrait of the Motherland’. In This Meager Nature: Landscape and National Identity in Imperial Russia, 134–229. DeKalb: Northern Illinois University Press.

Camilla, Gray. 1971. ‘1860s-90s’. In The Russian Experiment in Art, 1863-1922, World of art library. History of art:9–36. London: Thames and Hudson. https://contentstore.cla.co.uk/secure/link?id=9c6a02bc-44b3-e711-80cb-005056af4099.

Centre Georges Pompidou.; Soviet Union. Ministerstvo kulʹtury. n.d. Paris-Moscou, 1900-1930 : Arts Plastiques, Arts Appliqués et Objets Utilitaires, Architecture-Urbanisme, Agitprop, Affiche, Théâtre-Ballet, Littérature, Musique, Cinéma, Photo Créative / [Organisée Par Le Ministère de La Culture de l’URSS et Le Centre Georges Pompidou].

Charles, Rougle, et al. 2009a. ‘Igor’ Grabar’ , “Moscow Exhibitions” (1909)’. In Russian and Soviet Views of Modern Western Art: 1890s to Mid-1930s, The documents of twentieth-century art:75–76. Berkeley: University of California Press.

Charles, Rougle, et al. 2009. ‘Maxsimilian Voloshin, “Aspirations of the New French Painting.”’ In Russian and Soviet Views of Modern Western Art: 1890s to Mid-1930s, The documents of twentieth-century art:69–71. Berkeley: University of California Press. https://contentstore.cla.co.uk/secure/link?id=e4517a4e-a8d9-e711-80cd-005056af4099.

Charles, Rougle, et al. 2009b. ‘Pavel Muratov, “The Golden Fleece Salon”, (1908)’. In Russian and Soviet Views of Modern Western Art: 1890s to Mid-1930s, The documents of twentieth-century art:74–75. Berkeley: University of California Press. https://contentstore.cla.co.uk/secure/link?id=458b4f2d-78f5-e911-80cd-005056af4099.

———. 2009c. ‘Petr Konchavloskii Letters from Paris to Il’ia Mashkov (1908)’. In Russian and Soviet Views of Modern Western Art: 1890s to Mid-1930s, The documents of twentieth-century art:71–74. Berkeley: University of California Press. https://contentstore.cla.co.uk/secure/link?id=3ece65e3-0ff7-e911-80cd-005056af4099.

Charlotte Douglas. 1999. ‘Six (and a Few More) Russian Women of the Avant-Garde Together’. In Amazons of the Avant-Garde: Alexandra Exter, Natalia Goncharova, Liubov Popova, Olga Rozanova, Varvara Stepanova, and Nadezhda Udaltsova, 39–58. London: Royal Academy of Arts.

Charlotte, Douglas. 2006. ‘The Art of Pure Design: The Move to Abstraction in Russian and English Art and Textiles’. In Russian Art and the West: A Century of Dialogue in Painting, Architecture, and the Decorative Arts, 86–111. DeKalb, IL: Northern Illinois University Press.

Christina Kiaer. 1996. ‘Rodchenko in Paris’. October 75: 3–35. http://www.jstor.org/stable/778897?seq=1#page_scan_tab_contents.

———. 2001. ‘The Russian Constructivist Flapper Dress’. Critical Inquiry 28 (1): 185–243. http://www.jstor.org/stable/1344266.

———. 2005a. ‘Was Socialist Realism Forced Labour? The Case of Aleksandr Deineka in the 1930s’. Oxford Art Journal 28 (3): 323–45. http://www.jstor.org/stable/4500026?seq=1#page_scan_tab_contents.

———. 2005b. ‘Was Socialist Realism Forced Labour? The Case of Aleksandr Deineka in the 1930s’. Oxford Art Journal 28 (3): 323–45. http://www.jstor.org/stable/4500026?seq=1#page_scan_tab_contents.

Christina Lodder. 1992. ‘The VKhUTEMAS and the Bauhaus’. In The Avant-Garde Frontier: Russia Meets the West, 1910-1930, 196–240. Gainesville: University Press of Florida.

Christina, Lodder. 2003. ‘El Lissitzky and the Export of Constructivism’. In Situating El Lissitzky: Vitebsk, Berlin, Moscow, Issues&debates:27–46. Los Angeles, CA: Getty Research Institute.

Christina Lodder. 2004. ‘Soviet Constructivism’. In Art of the Avant-Gardes, Art of the 20th century:359–95. New Haven: Yale University Press in association with the Open University.

Christina, Lodder. 2005. ‘El Lissitzky and International Constructivism in Berlin 1922-1925’. In Constructive Strands in Russian Art, 1914-1937, 499–520. London: Pindar.

Christina Lodder. 2007. ‘Malevich Scholarship: A Brief Introduction’. In Rethinking Malevich: Proceedings of a Conference in Celebration of the 125th Anniversary of Kazimir Malevich’s Birth, ix–xxii. London: Pindar Press. https://contentstore.cla.co.uk/secure/link?id=7261246d-f412-e811-80cd-005056af4099.

Christina Lodder with Peter Hellyer. 2013. ‘St Petersburg/Petrograd/Leningrad: From Aesthetes to Revolutionaries’. In The Oxford Critical and Cultural History of Modernist Magazines: Vol. 3: Europe 1880-1940, 1248–75. Oxford: Oxford University Press. https://contentstore.cla.co.uk/secure/link?id=a1ccf205-98d6-e711-80cd-005056af4099.

Chuchvaha, Hanna. 2016. Art Periodical Culture in Late Imperial Russia (1898-1917): Print Modernism in Transition. Vol. Library of the written word. Leiden: Brill.

Cohen, Jean-Louis. 1992. Le Corbusier and the Mystique of the USSR: Theories and Projects for Moscow, 1928-1936. Princeton, N.J: Princeton University Press.

Compton, Susan P. and British Library. 1978. The World Backwards: Russian Futurist Books, 1912-16. London: British Museum Publications Ltd [for] the British Library.

———. 1992. Russian Avant-Garde Books 1917-34. London: The British Library.

‘Crafting Nation: The Challenge to Russian Folk Art in 1913’. 2009. Modernism/Modernity 16 (4): 743–65. https://doi.org/10.1353/mod.0.0135.

Danilo Udovički-Selb. 2012. ‘Facing Hitler’s Pavilion: The Uses of Modernity in the Soviet Pavilion at the 1937 Paris International Exhibition’. Journal of Contemporary History 47 (1): 13–47. http://www.jstor.org/stable/23248980.

David, Elliott. 1991. ‘Ruined Palaces’. In The Twilight of the Tsars: Russian Art at the Turn of the Century, 13–29. London: South Bank Centre. https://contentstore.cla.co.uk/secure/link?id=87777578-fdaf-e711-80cb-005056af4099.

David Jackson. 1998. ‘Western Art and Russian Ethics: Repin in Paris, 1873-76’. The Russian Review 57 (3): 394–409. http://www.jstor.org/stable/131954?seq=1#page_scan_tab_contents.

Dickerman, L. 2006. ‘The Fact and the Photograph’. October 118 (October): 132–52. https://www.jstor.org/stable/40368449.

Dickerman, Leah. 2000. ‘Camera Obscura: Socialist Realism in the Shadow of Photography’. October 93 (Summer). https://doi.org/10.2307/779160.

Dickerman, Leah, Matthew Affron, and Museum of Modern Art (New York, N.Y.). 2012. Inventing Abstraction 1910-1925: How a Radical Idea Changed Modern Art. London: Thames & Hudson.

Donald Leslie Johnson. 1987. ‘Frank Lloyd Wright in Moscow: June 1937’. Journal of the Society of Architectural Historians 46 (1): 65–79. https://www.jstor.org/stable/990146.

E. K. Valkenier. 2008. ‘Ilia Repin and His Critics’. In Critical Exchange: Art Criticism of the Eighteenth and Nineteenth Centuries in Russia and Western Europe, Cultural interactions : studies in the relationship between the arts:227–41. Bern: P. Lang. https://contentstore.cla.co.uk/secure/link?id=842eb0d6-3aba-e711-80cb-005056af4099.

Elizabeth, Kridl. Valkenier. 2006. ‘Opening Up to Europe: The Peredvizhniki and the Miriskusniki Respond to the West’. In Russian Art and the West: A Century of Dialogue in Painting, Architecture, and the Decorative Arts, 45–60. DeKalb, IL: Northern Illinois University Press/ Imprint of Cornell University Press. https://contentstore.cla.co.uk/secure/link?id=bb064eb6-134a-e811-80cd-005056af4099.

Evgeny, Dobrenko. 2007. ‘Socialism as Will and Representation’. In Politėkonomii͡a Sot͡srealizma. (The Political Economy of Socialist Realism), Biblioteka zhurnala ‘Neprikosnovennyĭ zapas’:1–75. Moskva: Novoe literaturnoe obozrenie.

Fitzpatrick, Sheila. 1970a. The Commissariat of Enlightenment: Soviet Organization of Education and the Arts under Lunacharsky, October 1917-1921. London: Cambridge University Press.

———. 1970b. The Commissariat of Enlightenment: Soviet Organization of Education and the Arts under Lunacharsky, October 1917-1921. London: Cambridge University Press.

Franklin, Simon, and Emma Widdis, eds. 2004a. National Identity in Russian Culture: An Introduction. Cambridge: Cambridge University Press. http://dx.doi.org/10.1017/CBO9780511720116.

———. 2004b. National Identity in Russian Culture: An Introduction. New York: Cambridge University Press.

Frederick S. Starr. 1976. ‘OSA: The Union of Contemporary Architects’. In Russian Modernism: Culture and the Avant-Garde, 1900-1930, 188–208. Ithaca, N.Y.: Cornell University Press.

Frederick Starr. 1980. ‘Le Corbusier and the USSR: New Documentation’. Cahiers Du Monde Russe et Soviétique 21 (2): 209–21. http://www.jstor.org/stable/20169889?seq=1#page_scan_tab_contents.

Gan, Alekseĭ, and Christina Lodder. 2013. Constructivism. Barcelona: Editorial Tenov.

Geyer, Michael, and Sheila Fitzpatrick. 2009. Beyond Totalitarianism: Stalinism and Nazism Compared. Cambridge: Cambridge University Press.

Gontarʹ, S. M., and Wassily Kandinsky. 2002. Kandinskiĭ: Gody v Rossii, 1866-1921. Krasnodar: Severnyĭ Kavkaz.

Gough, M. 2009. ‘Back in the USSR: John Heartfield, Gustavs Klucis, and the Medium of Soviet Propaganda’. New German Critique 36 (2 107): 133–83. https://doi.org/10.1215/0094033X-2009-004.

Gough, Maria. 2013. ‘Drawing Between Reportage and Memory: Diego Rivera’s Moscow Sketchbook’. October 145 (July): 67–84. https://www.jstor.org/stable/24586644.

Groĭs, Boris. 1992. The Total Art of Stalinism: Avant-Garde, Aesthetic Dictatorship, and Beyond. Princeton, N.J.: Princeton University Press.

Gurʹi͡anova, N. A. 1999. Exploring Color: Olga Rozanova and the Early Russian Avant-Garde, 1910-1918. Amsterdam ; Abingdon: G+B Arts International.

Gustav, Klucis. 2004. ‘The Photomontage as a New Kind of Agitation Art (1931)’. In Gustav Klutsis and Valentina Kulagina: Photography and Montage after Constructivism, 1st ed, 237–40. New York: International Center of Photografy.

Hal Foster. 2002. ‘Archives of Modern Art’. October 99 (January): 81–95. https://www.jstor.org/stable/779125.

Hardiman, Louise, and Nicola Kozicharow, eds. 2017. Modernism and the Spiritual in Russian Art: New Perspectives. Cambridge: Open Book Publishers. https://www.openbookpublishers.com/product/609.

Harrison, Charles, and Paul Wood. 2003a. ‘AKhRR, “Declaration” (1922)’. In Art in Theory 1900-2000: An Anthology of Changing Ideas, New ed, 384–85. Malden, Mass: Blackwell.

———. 2003b. ‘October (Association of Artistic Labour), Declaration’ (1928)’. In Art in Theory 1900-2000: An Anthology of Changing Ideas, New ed, 465–67. Malden, Mass: Blackwell.

Hayward Gallery, Centre de Cultura Contemporània de Barcelona, and Deutsches Historisches Museum. 1995. Art and Power: Images of the 1930s. London: South Bank Centre.

Hellyer, Peter and British Library. 2006. A Catalogue of Russian Avant-Garde Books 1912-1934 and 1969-2003. 2nd ed. London: British Library.

Hilton, Alison. 1969. ‘Matisse in Moscow’. Art Journal 29 (2): 166–73. https://doi.org/10.2307/775225.

———. 1995a. Russian Folk Art. Vol. Indiana-Michigan series in Russian and East European studies. Bloomington: Indiana University Press.

———. 1995b. Russian Folk Art. Vol. Indiana-Michigan series in Russian and East European studies. Bloomington: Indiana University Press.

Hubertus Gassner. 1992. ‘Heartfield’s Moscow Apprenticeship 1931-32’. In John Heartfield, AIZ: Arbeiter-Illustrierte Zeitung, Volks Illustrierte, 1930-1938, 256–87. New York, NY, U.S.A: Kent.

I͡Ablonskai͡a, M., and Anthony Parton. 1990. Women Artists of Russia’s New Age, 1900-1935. London: Thames and Hudson.

Ilya, Zdanevich and Mikhail, Larionov. 1988. ‘Why We Paint Ourselves: A Futurist Manifesto’. In Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934, Rev. and enl. ed, 79–86. New York: Thames and Hudson.

J. Hahl-Koch. 1980. ‘Kandinsky’s Role in the Russian Avant-Garde’. In The Avant-Garde in Russia, 1910-1930: New Perspectives, 84–91. Los Angeles ; distributed `Cambridge, Mass.’ ; distributed `London’: Los Angeles County Museum of Art : Distributed by MIT. https://contentstore.cla.co.uk/secure/link?id=a84cd1d3-1c16-e811-80cd-005056af4099.

Jackson, David. 1998. ‘Western Art and Russian Ethics: Repin in Paris, 1873-76’. Russian Review 57 (3): 394–409. https://doi.org/10.1111/1467-9434.00031.

Jackson, David L. 2006. The Wanderers and Critical Realism in Nineteenth-Century Russian Art. Vol. Critical perspectives in art history. Manchester: Manchester University Press.

Jane A. Sharp. 1992. ‘The Critical Reception of the 0.10 Exhibition. Malevich and Benua’. In The Great Utopia: The Russian and Soviet Avant-Garde, 1915-1932, 38–52. New York, N.Y. : Distributor: Guggenheim Museum : Rizzoli International Publications, Inc.

Jean, Baudrillard. 1994. ‘The System of Collecting’. Electronic resource. In The Cultures of Collecting, edited by Roger Cardinal and John Elsner, Critical views:7–24. London: Reaktion Books. https://www.dawsonera.com/readonline/9781861894212/startPage/16/1.

John E. Bowlt. 1976. ‘The Blue Rose: Russian Symbolism in Art’. The Burlington Magazine 118 (881): 566–75. http://www.jstor.org/stable/878497.

———. 1978. ‘K Istorii Russkogo Avangarda (The Russian Avant-Garde). By Nikolai Khardshiev, Kasimir Malevich, and Mikhail Matiushin. Edited by Nikolai Khardshiev. Postscript by Roman Jakobson.’ Slavic Review 37 (2): 351–53. https://doi.org/10.2307/2497665.

———. 1979. ‘Abramtsevo and Talashkino: The Emergence of the Neo-Nationalist Style’. In The Silver Age, Russian Art of the Early Twentieth Century and the ‘World of Art’ Group. Vol. ORP studies in Russian art history. Newtonville, Mass: Oriental Research partners.

———. 1982a. ‘Abramtsevo and Talashkino: The Emergence of the Neo-Nationalist Style’. In The Silver Age, Russian Art of the Early Twentieth Century and the ‘World of Art’ Group, 2nd ed. =, ORP studies in Russian art history:28–46. Newtonville, Mass: Oriental Research partners.

———. 1982b. ‘Two Russian Maecenases: Savva Mamontov and Princess Tenisheva’. In The Silver Age, Russian Art of the Early Twentieth Century and the ‘World of Art’ Group, 2nd ed. =, ORP studies in Russian art history:444–53. Newtonville, Mass: Oriental Research partners.

———. 1988. ‘Central Committee of the All-Union Communist Party (Bolsheviks), "Decree on the Reconstruction of Literary and Artistic Organizations’. In Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934, Rev. and enl. ed, 288–89. New York: Thames and Hudson.

———. 1999. ‘Women of Genius’. In Amazons of the Avant-Garde: Alexandra Exter, Natalia Goncharova, Liubov Popova, Olga Rozanova, Varvara Stepanova, and Nadezhda Udaltsova, 2–38. London: Royal Academy of Arts.

———. 2008. ‘Introduction’. In Moscow and St Petersburg in Russia’s Silver Age 1900-1920, 9–63. London: Thames & Hudson.

K. Dianina. 2013. ‘An Island of Antiquity: The Double Life of Talashkino in Russia and Beyond’. In Rites of Place: Public Commemoration in Russia and Eastern Europe, 133–56. Evanston, Ill: Northwestern University Press.

K. Kettering. 2006. ‘Decoration and Disconnection: The Russkii Stil’ and Russian Decorative Arts at Nineteenth-Century American World’s Fairs’. In Russian Art and the West: A Century of Dialogue in Painting, Architecture, and the Decorative Arts, 61–85. DeKalb, IL: Northern Illinois University Press.

Kachurin, Pamela. 2012. ‘Working (for) the State: Vladimir Tatlin’s Career in Early Soviet Russia and the Origins of The Monument to the Third International’. Modernism/Modernity 19 (1): 19–41. https://doi.org/10.1353/mod.2012.0001.

Kachurin, Pamela Jill. 2013. Making Modernism Soviet: The Russian Avant-Garde in the Early Soviet Era, 1918-1928. Evanston, Ill: Northwestern University Press.

Kandinsky, Wassily, John E. Bowlt, and Rose-Carol Washton Long. 1980. The Life of Vasilii Kandinsky in Russian Art: A Study of ‘On the Spiritual in Art’. Vol. Russian biography series. Newtonville, Mass: Oriental Research Partners.

Kandinsky, Wassily, Kenneth C. Lindsay, and Peter Vergo. 1982a. Kandinsky: Complete Writings on Art, Vol.1: (1901-1921). London: Faber and Faber.

———. 1982b. Kandinsky: Complete Writings on Art, Vol.2: (1922-1943). London: Faber.

Kandinsky, Wassily, Jill Lloyd, and Neue Galerie New York. 2013. Vasily Kandinsky: From Blaue Reiter to the Bauhaus, 1910-1925. Ostfildern: Hatje Cantz.

Katerina Clark. 2011a. ‘The Author as Producer: Cultural Revolution in Berlin and Moscow (1930–1931)’. In Moscow, the Fourth Rome: Stalinism, Cosmopolitanism, and the Evolution of Soviet Culture, 1931-1941, ACLS Humanities E-book:42–77. Cambridge, Mass: Harvard University Press. https://www.jstor.org/stable/j.ctt24hjm6.4.

———. 2011b. ‘The Return of the Aesthetic’. In Moscow, the Fourth Rome: Stalinism, Cosmopolitanism, and the Evolution of Soviet Culture, 1931-1941, ACLS Humanities E-book:105–35. Cambridge, Mass: Harvard University Press. https://www.jstor.org/stable/j.ctt24hjm6.6.

Kazimir, Malevich. 1988. ‘From Cubism and Futurism to Suprematism: The New Painterly Realism. (1915)’. In Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934, Rev. and enl. ed, 116–35. New York: Thames and Hudson.

Kean, Beverly Whitney. 1983. All the Empty Palaces: The Merchant Patrons of Modern Art in Pre-Revolutionary Russia. New York: Universe Books.

Kean, Beverly Whitney, and Beverly Whitney Kean. 1994a. French Painters, Russian Collectors: The Merchant Patrons of Modern Art in Pre-Revolutionary Russia. Rev. and Updated ed. London: Hodder & Stoughton.

———. 1994b. French Painters, Russian Collectors: The Merchant Patrons of Modern Art in Pre-Revolutionary Russia. Rev. and Updated ed. London: Hodder & Stoughton.

Kennedy, Janet. 1976. The ‘Mir Iskusstva’ Group and Russian Art, 1898-1912.

———. 1977. The ‘Mir Iskusstva’ Group and Russian Art, 1898-1912. Vol. Outstanding dissertations in the fine arts. New York: Garland Publishing, Inc.

Kiaer, Christina. 1997. ‘Boris Arvatov’s Socialist Objects’. October 81: 105–18. https://doi.org/10.2307/779021.

———. 2005. Imagine No Possessions: The Socialist Objects of Russian Constructivism. Cambridge, Mass: MIT Press.

King, David. 2009. Red Star over Russia: A Visual History of the Soviet Union from 1917 to the Death of Stalin : Posters, Photographs and Graphics from the David King Collection. London: Tate.

Kokkinaki, Irina. 1983. ‘First Exhibition of Modern Architecture in Moscow {1927}.’ Architectural Design 53 (5/6).

Kudryavtseva, Tamara and Gosudarstvennyĭ Ėrmitazh (Russia). 2004. Circling the Square: Avant-Garde Porcelain from Revolutionary Russia. London: Fontanka.

Leon, Trotsky. 2003. ‘Literature and Revolution (1922-3)’. In Art in Theory 1900-2000: An Anthology of Changing Ideas, New ed, 427–32. Malden, Mass: Blackwell.

Linda, Boersma. 2007. ‘Malevich, Lissitzky, Van Doesburg and De Stijl’. In Rethinking Malevich: Proceedings of a Conference in Celebration of the 125th Anniversary of Kazimir Malevich’s Birth, 223–36. London: Pindar Press.

M. Dabrowski. 1992. ‘Malevich and Mondrian: Nonobjective Form as the Expression of the “Absolute”’. In The Avant-Garde Frontier: Russia Meets the West, 1910-1930, 145–68. Gainesville: University Press of Florida. https://contentstore.cla.co.uk/secure/link?id=c661204f-9fc3-e711-80cb-005056af4099.

Malevich, Kazimir Severinovich. 2014. Kazimir Malevich. Edited by Achim Borchardt-Hume. London: Tate Publishing.

Mally, Lynn. 1990. Culture of the Future: The Prolekult Movement in Revolutionary Russia. Vol. Studies on the history of society and culture. Berkeley, [Calif.]: University of California Press.

Maria, Gough. 2003. ‘Constructivism Disoriented: El Lissitzky’s Dresden and Hanover Demonstrationraume’. In Situating El Lissitzky: Vitebsk, Berlin, Moscow, Issues&debates:77–129. Los Angeles, CA: Getty Research Institute.

Maria Gough. 2005a. ‘Composition and Construction’. In The Artist as Producer: Russian Constructivism in Revolution, 21–60. Berkeley: University of California Press.

———. 2005b. ‘In the Laboratory of Constructivism’. In The Artist as Producer: Russian Constructivism in Revolution, 61–100. Berkeley: University of California Press.

———. 2005c. ‘In the Laboratory of Constructivism’. In The Artist as Producer: Russian Constructivism in Revolution, 61–99. Berkeley: University of California Press.

———. 2005d. ‘Introduction: Made in Moscow’. In The Artist as Producer: Russian Constructivism in Revolution, 1-19-199–201. Berkeley: University of California Press. https://contentstore.cla.co.uk/secure/link?id=f9ba9803-9dcf-e711-80cd-005056af4099.

———. 2009. ‘Back in the USSR: John Heartfield, Gustavs Klucis, and the Medium of Soviet Propaganda’. New German Critique 36 (107): 133–83. http://ngc.dukejournals.org/content/36/2_107/133.abstract.

———. 2013. ‘Drawing Between Reportage and Memory: Diego Rivera’s Moscow Sketchbook’. October 145: 67–84. https://www.jstor.org/stable/24586644.

Markov, Vladimir. 2006. Russian Futurism: A History. Washington, DC: New Academia.

———. 2015. Vladimir Markov and Russian Primitivism: A Charter for the Avant-Garde. Vol. Studies in art historiography. Burlington: Ashgate.

Michael Geyer and Sheila Fitzpatrick, eds. 2008. Beyond Totalitarianism: Stalinism and Nazism Compared. Cambridge: Cambridge University Press. https://doi.org/10.1017/CBO9780511802652.

Mikhail, Larionov and Natalia, Goncharova,. 1988. ‘Rayonists and Futurists: A Manifesto’. In Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934, Rev. and enl. ed, 87–91. New York: Thames and Hudson.

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