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. New York: Guggenheim Museum, pp. 238–250.

Aleksandr Rodchenko (1989) ‘Against the Synthetic Portrait, for the Snapshot’ (1928)’, in Photography in the modern era: European documents and critical writings, 1913-1940. New York: Metropolitan Museum of Art, pp. 238–241.

Alison Hilton (1994) ‘Remaking Folk Art: from Russian Revival to Proletcult’, in New perspectives on Russian and Soviet artistic culture. Basingstoke: Macmillan, pp. 80–94.

Alison, Hilton (2014) ‘Serov, Bakst, and the Reinvention of Russia’s Classical Heritage’, in R.P. Blakesley and M. Samu (eds) From realism to the Silver Age: new studies in Russian artistic culture : essays in honor of Elizabeth Kridl Valkenier. DeKalb, IL: NIU Press, pp. 152–168.

Alison Hilton (no date) ‘Folk art and social ritual’, in V.A. Kivelson and J. Neuberger (eds) Picturing Russia: explorations in visual culture. New Haven, Conn: Yale University Press, pp. 96–99. Available at: http://www.jstor.org/stable/j.ctt5vm1n6.23?seq=1#page_scan_tab_contents.

Anděl, J. et al. (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. New York: Thames and Hudson, pp. 290–297.

Anon (1989) ‘Program of the October Photo Section’, in Photography in the modern era: European documents and critical writings, 1913-1940. New York: Metropolitan Museum of Art, pp. 238–285.

Anthony Swift (1998) ‘The Soviet World of Tomorrow at the New York World’s Fair, 1939’, The Russian Review, 57(3), pp. 364–379. Available at: http://www.jstor.org/stable/131952.

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

Arvatov, B. and Kiaer, C. (1997) ‘Everyday Life and the Culture of the Thing (Toward the Formulation of the Question)’, October, 81, pp. 119–128. Available at: https://doi.org/10.2307/779022.

Barron, S. et al. (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, R.P. (2016) Russia and the arts: the age of Tolstoy and Tchaikovsky. London: National Portrait Gallery.

Bonnell, V.E. (1991) ‘The Representation of Women in Early Soviet Political Art’, Russian Review, 50(3), pp. 267–288. Available at: https://doi.org/10.2307/131074.

Bowlt, J.E. (1973) ‘Nikolai Ryabushinsky: Playboy of the Eastern World’, Apollo: The International Magazine of Art & Antiques, 98, pp. 486–493. Available at: http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,shib&db=asu&AN=26990998&site=ehost-live&scope=site.

Bowlt, J.E. (1977) ‘Constructivism and Russian Stage Design’, Performing Arts Journal, 1(3), pp. 62–84. Available at: https://doi.org/10.2307/3245250.

Bowlt, J.E. (1979) The silver age, Russian art of the early twentieth century and the ‘World of art’ group. Newtonville, Mass: Oriental Research partners.

Bowlt, J.E. (1987) ‘Stage Design and the Ballets Russes’, The Journal of Decorative and Propaganda Arts, 5. Available at: https://doi.org/10.2307/1503934.

Bowlt, J.E. (1989) ‘Some Thoughts on the Condition of Soviet Art History’, The Art Bulletin, 71(4), pp. 542–550. Available at: https://doi.org/10.2307/3051268.

Bowlt, J.E. et al. (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, J.E. et al. (2013) The Russian avant-garde: Siberia and the East : [Florence, Palazzo Strozzi, 27 September 2013-19 January 2014]. First edition. Edited by V. Russo. Milano, Itally: Skira.

Brumfield, W.C. (1991) The origins of modernism in Russian architecture. Berkeley: University of California Press.

Buchloh, B.H.D. (1984) ‘From Faktura to Factography’, October, 30, pp. 82–119. Available at: 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. DeKalb: Northern Illinois University Press, pp. 134–229.

Camilla, Gray (1971) ‘1860s-90s’, in The Russian experiment in art, 1863-1922. London: Thames and Hudson, pp. 9–36. Available at: https://contentstore.cla.co.uk/secure/link?id=9c6a02bc-44b3-e711-80cb-005056af4099.

Centre Georges Pompidou.; Soviet Union. Ministerstvo kulʹtury. (no date) 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. Berkeley: University of California Press, pp. 75–76.

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. Berkeley: University of California Press, pp. 69–71. Available at: 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. Berkeley: University of California Press, pp. 74–75. Available at: https://contentstore.cla.co.uk/secure/link?id=458b4f2d-78f5-e911-80cd-005056af4099.

Charles, Rougle, et al. (2009c) ‘Petr Konchavloskii Letters from Paris to il’ia Mashkov (1908)’, in Russian and Soviet views of modern Western art: 1890s to mid-1930s. Berkeley: University of California Press, pp. 71–74. Available at: 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. London: Royal Academy of Arts, pp. 39–58.

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. DeKalb, IL: Northern Illinois University Press, pp. 86–111.

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

Christina Kiaer (2001) ‘The Russian Constructivist Flapper Dress’, Critical Inquiry, 28(1), pp. 185–243. Available at: http://www.jstor.org/stable/1344266.

Christina Kiaer (2005a) ‘Was Socialist Realism Forced Labour? The Case of Aleksandr Deineka in the 1930s’, Oxford Art Journal, 28(3), pp. 323–345. Available at: http://www.jstor.org/stable/4500026?seq=1#page_scan_tab_contents.

Christina Kiaer (2005b) ‘Was Socialist Realism Forced Labour? The Case of Aleksandr Deineka in the 1930s’, Oxford Art Journal, 28(3), pp. 323–345. Available at: 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. Gainesville: University Press of Florida, pp. 196–240.

Christina, Lodder (2003) ‘El Lissitzky and the Export of Constructivism’, in Situating El Lissitzky: Vitebsk, Berlin, Moscow. Los Angeles, CA: Getty Research Institute, pp. 27–46.

Christina Lodder (2004) ‘Soviet Constructivism’, in Art of the avant-gardes. New Haven: Yale University Press in association with the Open University, pp. 359–395.

Christina, Lodder (2005) ‘El Lissitzky and International Constructivism in Berlin 1922-1925’, in Constructive strands in Russian art, 1914-1937. London: Pindar, pp. 499–520.

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. London: Pindar Press, pp. ix–xxii. Available at: 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. Oxford: Oxford University Press, pp. 1248–1275. Available at: https://contentstore.cla.co.uk/secure/link?id=a1ccf205-98d6-e711-80cd-005056af4099.

Chuchvaha, H. (2016) Art periodical culture in late imperial Russia (1898-1917): print modernism in transition. Leiden: Brill.

Cohen, J.-L. (1992) Le Corbusier and the mystique of the USSR: theories and projects for Moscow, 1928-1936. Princeton, N.J: Princeton University Press.

Compton, S.P. and British Library (1978) The world backwards: Russian futurist books, 1912-16. London: British Museum Publications Ltd [for] the British Library.

Compton, S.P. and 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), pp. 743–765. Available at: 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), pp. 13–47. Available at: 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. London: South Bank Centre, pp. 13–29. Available at: 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), pp. 394–409. Available at: http://www.jstor.org/stable/131954?seq=1#page_scan_tab_contents.

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

Dickerman, L. (2006) ‘The Fact and the Photograph’, October, 118, pp. 132–152. Available at: https://www.jstor.org/stable/40368449.

Dickerman, L., Affron, M., 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), pp. 65–79. Available at: 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. Bern: P. Lang, pp. 227–241. Available at: 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. DeKalb, IL: Northern Illinois University Press/ Imprint of Cornell University Press, pp. 45–60. Available at: 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). Moskva: Novoe literaturnoe obozrenie, pp. 1–75.

Fitzpatrick, S. (1970a) The Commissariat of Enlightenment: Soviet organization of education and the arts under Lunacharsky, October 1917-1921. London: Cambridge University Press.

Fitzpatrick, S. (1970b) The Commissariat of Enlightenment: Soviet organization of education and the arts under Lunacharsky, October 1917-1921. London: Cambridge University Press.

Franklin, S. and Widdis, E. (eds) (2004a) National Identity in Russian Culture: An Introduction. Cambridge: Cambridge University Press. Available at: http://dx.doi.org/10.1017/CBO9780511720116.

Franklin, S. and Widdis, E. (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. Ithaca, N.Y.: Cornell University Press, pp. 188–208.

Frederick Starr (1980) ‘Le Corbusier and the USSR: New Documentation’, Cahiers du Monde russe et soviétique, 21(2), pp. 209–221. Available at: http://www.jstor.org/stable/20169889?seq=1#page_scan_tab_contents.

Gan, A. and Lodder, C. (2013) Constructivism. Barcelona: Editorial Tenov.

Geyer, M. and Fitzpatrick, S. (2009) Beyond totalitarianism: Stalinism and Nazism compared. Cambridge: Cambridge University Press.

Gontarʹ, S.M. and Kandinsky, W. (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), pp. 133–183. Available at: https://doi.org/10.1215/0094033X-2009-004.

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

Groĭs, B. (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. New York: International Center of Photografy, pp. 237–240.

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

Hardiman, L. and Kozicharow, N. (eds) (2017) Modernism and the spiritual in Russian art: new perspectives. Cambridge: Open Book Publishers. Available at: https://www.openbookpublishers.com/product/609.

Harrison, C. and Wood, P. (2003a) ‘AKhRR, “Declaration” (1922)’, in Art in theory 1900-2000: an anthology of changing ideas. New ed. Malden, Mass: Blackwell, pp. 384–385.

Harrison, C. and Wood, P. (2003b) ‘October (Association of Artistic Labour), Declaration’ (1928)’, in Art in theory 1900-2000: an anthology of changing ideas. New ed. Malden, Mass: Blackwell, pp. 465–467.

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, P. and British Library (2006) A catalogue of Russian avant-garde books 1912-1934 and 1969-2003. 2nd ed. London: British Library.

Hilton, A. (1969) ‘Matisse in Moscow’, Art Journal, 29(2), pp. 166–173. Available at: https://doi.org/10.2307/775225.

Hilton, A. (1995a) Russian folk art. Bloomington: Indiana University Press.

Hilton, A. (1995b) Russian folk art. Bloomington: Indiana University Press.

Hubertus Gassner (1992) ‘Heartfield’s Moscow Apprenticeship 1931-32’, in John Heartfield, AIZ: Arbeiter-Illustrierte Zeitung, Volks Illustrierte, 1930-1938. New York, NY, U.S.A: Kent, pp. 256–287.

I͡Ablonskai͡a, M. and Parton, A. (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. New York: Thames and Hudson, pp. 79–86.

J. Hahl-Koch (1980) ‘Kandinsky’s Role in the Russian Avant-Garde’, in 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, pp. 84–91. Available at: https://contentstore.cla.co.uk/secure/link?id=a84cd1d3-1c16-e811-80cd-005056af4099.

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

Jackson, D.L. (2006) The wanderers and critical realism in nineteenth-century Russian art. 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. New York, N.Y. : Distributor: Guggenheim Museum : Rizzoli International Publications, Inc, pp. 38–52.

Jean, Baudrillard (1994) ‘The System of Collecting’, in R. Cardinal and J. Elsner (eds) The cultures of collecting. London: Reaktion Books, pp. 7–24. Available at: 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), pp. 566–575. Available at: http://www.jstor.org/stable/878497.

John E. Bowlt (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), pp. 351–353. Available at: https://doi.org/10.2307/2497665.

John E. Bowlt (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. Newtonville, Mass: Oriental Research partners.

John E. Bowlt (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. =. Newtonville, Mass: Oriental Research partners, pp. 28–46.

John E. Bowlt (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. =. Newtonville, Mass: Oriental Research partners, pp. 444–453.

John E. Bowlt (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. New York: Thames and Hudson, pp. 288–289.

John E. Bowlt (1999) ‘Women of genius’, in Amazons of the avant-garde: Alexandra Exter, Natalia Goncharova, Liubov Popova, Olga Rozanova, Varvara Stepanova, and Nadezhda Udaltsova. London: Royal Academy of Arts, pp. 2–38.

John E. Bowlt (2008) ‘Introduction’, in Moscow and St Petersburg in Russia’s silver age 1900-1920. London: Thames & Hudson, pp. 9–63.

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. Evanston, Ill: Northwestern University Press, pp. 133–156.

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. DeKalb, IL: Northern Illinois University Press, pp. 61–85.

Kachurin, P. (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), pp. 19–41. Available at: https://doi.org/10.1353/mod.2012.0001.

Kachurin, P.J. (2013) Making modernism Soviet: the Russian avant-garde in the early Soviet era, 1918-1928. Evanston, Ill: Northwestern University Press.

Kandinsky, W., Bowlt, J.E. and Long, R.-C.W. (1980) The Life of Vasilii Kandinsky in Russian art: a study of ‘On the spiritual in art’. Newtonville, Mass: Oriental Research Partners.

Kandinsky, W., Lindsay, K.C. and Vergo, P. (1982a) Kandinsky: complete writings on art, Vol.1: (1901-1921). London: Faber and Faber.

Kandinsky, W., Lindsay, K.C. and Vergo, P. (1982b) Kandinsky: complete writings on art, Vol.2: (1922-1943). London: Faber.

Kandinsky, W., Lloyd, J., 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. Cambridge, Mass: Harvard University Press, pp. 42–77. Available at: https://www.jstor.org/stable/j.ctt24hjm6.4.

Katerina Clark (2011b) ‘The Return of the Aesthetic’, in Moscow, the fourth Rome: Stalinism, cosmopolitanism, and the evolution of Soviet culture, 1931-1941. Cambridge, Mass: Harvard University Press, pp. 105–135. Available at: 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. New York: Thames and Hudson, pp. 116–135.

Kean, B.W. (1983) All the empty palaces: the merchant patrons of modern art in pre-Revolutionary Russia. New York: Universe Books.

Kean, B.W. and Kean, B.W. (1994a) French painters, Russian collectors: the merchant patrons of modern art in pre-revolutionary Russia. Rev. and updated ed. London: Hodder & Stoughton.

Kean, B.W. and Kean, B.W. (1994b) French painters, Russian collectors: the merchant patrons of modern art in pre-revolutionary Russia. Rev. and updated ed. London: Hodder & Stoughton.

Kennedy, J. (1976) The ‘Mir iskusstva’ group and Russian art, 1898-1912.

Kennedy, J. (1977) The ‘Mir iskusstva’ group and Russian art, 1898-1912. New York: Garland Publishing, Inc.

Kiaer, C. (1997) ‘Boris Arvatov’s Socialist Objects’, October, 81, pp. 105–118. Available at: https://doi.org/10.2307/779021.

Kiaer, C. (2005) Imagine no possessions: the socialist objects of Russian constructivism. Cambridge, Mass: MIT Press.

King, D. (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, I. (1983) ‘First exhibition of modern architecture in Moscow {1927}.’, Architectural Design, 53(5/6).

Kudryavtseva, T. 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. Malden, Mass: Blackwell, pp. 427–432.

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. London: Pindar Press, pp. 223–236.

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. Gainesville: University Press of Florida, pp. 145–168. Available at: https://contentstore.cla.co.uk/secure/link?id=c661204f-9fc3-e711-80cb-005056af4099.

Malevich, K.S. (2014) Kazimir Malevich. Edited by A. Borchardt-Hume. London: Tate Publishing.

Mally, L. (1990) Culture of the future: the Prolekult movement in revolutionary Russia. 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. Los Angeles, CA: Getty Research Institute, pp. 77–129.

Maria Gough (2005a) ‘Composition and Construction’, in The artist as producer: Russian constructivism in revolution. Berkeley: University of California Press, pp. 21–60.

Maria Gough (2005b) ‘In the Laboratory of Constructivism’, in The artist as producer: Russian constructivism in revolution. Berkeley: University of California Press, pp. 61–100.

Maria Gough (2005c) ‘In the laboratory of constructivism’, in The artist as producer: Russian constructivism in revolution. Berkeley: University of California Press, pp. 61–99.

Maria Gough (2005d) ‘Introduction: Made in Moscow’, in The artist as producer: Russian constructivism in revolution. Berkeley: University of California Press, pp. 1-19-199–201. Available at: https://contentstore.cla.co.uk/secure/link?id=f9ba9803-9dcf-e711-80cd-005056af4099.

Maria Gough (2009) ‘Back in the USSR: John Heartfield, Gustavs Klucis, and the Medium of Soviet Propaganda’, New German Critique, 36(107), pp. 133–183. Available at: http://ngc.dukejournals.org/content/36/2_107/133.abstract.

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

Markov, V. (2006) Russian futurism: a history. Washington, DC: New Academia.

Markov, V. (2015) Vladimir Markov and Russian primitivism: a charter for the avant-garde. Burlington: Ashgate.

Michael Geyer and Sheila Fitzpatrick (eds) (2008) Beyond Totalitarianism: Stalinism and Nazism compared. Cambridge: Cambridge University Press. Available at: 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. New York: Thames and Hudson, pp. 87–91.

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