A. Kostenevich, ‘Moscow Two Great Collectors: Shchukin and Morozov’, in Russia!: Nine Hundred Years of Masterpieces and Master Collections (New York: Guggenheim Museum, 2005), pp. 238–50
Aleksandr Rodchenko, ‘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, 1989), pp. 238–41
Alison Hilton, ‘Folk Art and Social Ritual’, in Picturing Russia: Explorations in Visual Culture, ed. by Valerie A. Kivelson and Joan Neuberger (New Haven, Conn: Yale University Press), pp. 96–99 <http://www.jstor.org/stable/j.ctt5vm1n6.23?seq=1#page_scan_tab_contents>
———, ‘Remaking Folk Art: From Russian Revival to Proletcult’, in New Perspectives on Russian and Soviet Artistic Culture (Basingstoke: Macmillan, 1994), pp. 80–94
Alison, Hilton, ‘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, ed. by Rosalind P. Blakesley and Margaret Samu (DeKalb, IL: NIU Press, 2014), Studies of the Harriman Institute, 152–68
Anděl, Jaroslav, Richard Andrews, Milena Kalinovska, Henry Art Gallery, Walker Art Center, and Gosudarstvennai͡a Tretʹi͡akovskai͡a galerei͡a, Art into Life: Russian Constructivism, 1914-1932 (New York: Rizzoli, 1990)
Andrei Zhadanov et al, ‘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, 1988), pp. 290–97
Anon, ‘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, 1989), pp. 238–85
Anthony Swift, ‘The Soviet World of Tomorrow at the New York World’s Fair, 1939’, The Russian Review, 57.3 (1998), 364–79 <http://www.jstor.org/stable/131952>
Anysley, Jeremy, ‘Pressa Cologne, 1928: Exhibitions and Publication Design in the Weimar Period’, Design Issues, 10.3 (1994), 52–76 <https://doi.org/10.2307/1511692>
Arvatov, Boris, and Christina Kiaer, ‘Everyday Life and the Culture of the Thing (Toward the Formulation of the Question)’, October, 81 (1997), 119–28 <https://doi.org/10.2307/779022>
Barron, Stephanie, Maurice Tuchman, Los Angeles County Museum of Art, and Hirshhorn Museum and Sculpture Garden, 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, 1980)
Blakesley, Rosalind P., Russia and the Arts: The Age of Tolstoy and Tchaikovsky (London: National Portrait Gallery, 2016)
Bonnell, Victoria E., ‘The Representation of Women in Early Soviet Political Art’, Russian Review, 50.3 (1991), 267–88 <https://doi.org/10.2307/131074>
Bowlt, John E., ‘Constructivism and Russian Stage Design’, Performing Arts Journal, 1.3 (1977), 62–84 <https://doi.org/10.2307/3245250>
———, ‘Nikolai Ryabushinsky: Playboy of the Eastern World’, Apollo: The International Magazine of Art & Antiques, 98 (1973), 486–93 <http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,shib&db=asu&AN=26990998&site=ehost-live&scope=site>
———, ‘Some Thoughts on the Condition of Soviet Art History’, The Art Bulletin, 71.4 (1989), 542–50 <https://doi.org/10.2307/3051268>
———, ‘Stage Design and the Ballets Russes’, The Journal of Decorative and Propaganda Arts, 5 (1987) <https://doi.org/10.2307/1503934>
———, The Silver Age, Russian Art of the Early Twentieth Century and the ‘World of Art’ Group (Newtonville, Mass: Oriental Research partners, 1979), ORP studies in Russian art history
Bowlt, John E., Matthew Drutt, Deutsche Guggenheim Berlin, Royal Academy of Arts (Great Britain), Peggy Guggenheim Collection, and Solomon R. Guggenheim Museum, Amazons of the Avant-Garde: Alexandra Exter, Natalia Goncharova, Liubov Popova, Olga Rozanova, Varvara Stepanova, and Nadezhda Udaltsova (London: Royal Academy of Arts, 1999)
Bowlt, John E., Nicoletta Misler, E. N. Petrova, and Marcello Francone, The Russian Avant-Garde: Siberia and the East : [Florence, Palazzo Strozzi, 27 September 2013-19 January 2014], ed. by Vincenza Russo, First edition (Milano, Itally: Skira, 2013)
Brumfield, William Craft, The Origins of Modernism in Russian Architecture (Berkeley: University of California Press, 1991)
Buchloh, Benjamin H. D., ‘From Faktura to Factography’, October, 30 (1984), 82–119 <https://doi.org/10.2307/778300>
C. Ely, ‘A Portrait of the Motherland’, in This Meager Nature: Landscape and National Identity in Imperial Russia (DeKalb: Northern Illinois University Press, 2002), pp. 134–229
Camilla, Gray, ‘1860s-90s’, in The Russian Experiment in Art, 1863-1922 (London: Thames and Hudson, 1971), World of art library. History of art, 9–36 <https://contentstore.cla.co.uk/secure/link?id=9c6a02bc-44b3-e711-80cb-005056af4099>
Centre Georges Pompidou.; Soviet Union. Ministerstvo kulʹtury., 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., ‘Igor’ Grabar’ , “Moscow Exhibitions” (1909)’, in Russian and Soviet Views of Modern Western Art: 1890s to Mid-1930s (Berkeley: University of California Press, 2009), The documents of twentieth-century art, 75–76
Charles, Rougle, et al, ‘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, 2009), The documents of twentieth-century art, 69–71 <https://contentstore.cla.co.uk/secure/link?id=e4517a4e-a8d9-e711-80cd-005056af4099>
Charles, Rougle, et al., ‘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, 2009), The documents of twentieth-century art, 74–75 <https://contentstore.cla.co.uk/secure/link?id=458b4f2d-78f5-e911-80cd-005056af4099>
———, ‘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, 2009), The documents of twentieth-century art, 71–74 <https://contentstore.cla.co.uk/secure/link?id=3ece65e3-0ff7-e911-80cd-005056af4099>
Charlotte Douglas, ‘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, 1999), pp. 39–58
Charlotte, Douglas, ‘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, 2006), pp. 86–111
Christina Kiaer, ‘Rodchenko in Paris’, October, 75 (1996), 3–35 <http://www.jstor.org/stable/778897?seq=1#page_scan_tab_contents>
———, ‘The Russian Constructivist Flapper Dress’, Critical Inquiry, 28.1 (2001), 185–243 <http://www.jstor.org/stable/1344266>
———, ‘Was Socialist Realism Forced Labour? The Case of Aleksandr Deineka in the 1930s’, Oxford Art Journal, 28.3 (2005), 323–45 <http://www.jstor.org/stable/4500026?seq=1#page_scan_tab_contents>
———, ‘Was Socialist Realism Forced Labour? The Case of Aleksandr Deineka in the 1930s’, Oxford Art Journal, 28.3 (2005), 323–45 <http://www.jstor.org/stable/4500026?seq=1#page_scan_tab_contents>
Christina, Lodder, ‘El Lissitzky and International Constructivism in Berlin 1922-1925’, in Constructive Strands in Russian Art, 1914-1937 (London: Pindar, 2005), pp. 499–520
———, ‘El Lissitzky and the Export of Constructivism’, in Situating El Lissitzky: Vitebsk, Berlin, Moscow (Los Angeles, CA: Getty Research Institute, 2003), Issues&debates, 27–46
Christina Lodder, ‘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, 2007), pp. ix–xxii <https://contentstore.cla.co.uk/secure/link?id=7261246d-f412-e811-80cd-005056af4099>
———, ‘Soviet Constructivism’, in Art of the Avant-Gardes (New Haven: Yale University Press in association with the Open University, 2004), Art of the 20th century, 359–95
———, ‘The VKhUTEMAS and the Bauhaus’, in The Avant-Garde Frontier: Russia Meets the West, 1910-1930 (Gainesville: University Press of Florida, 1992), pp. 196–240
Christina Lodder with Peter Hellyer, ‘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, 2013), pp. 1248–75 <https://contentstore.cla.co.uk/secure/link?id=a1ccf205-98d6-e711-80cd-005056af4099>
Chuchvaha, Hanna, Art Periodical Culture in Late Imperial Russia (1898-1917): Print Modernism in Transition (Leiden: Brill, 2016), Library of the written word
Cohen, Jean-Louis, Le Corbusier and the Mystique of the USSR: Theories and Projects for Moscow, 1928-1936 (Princeton, N.J: Princeton University Press, 1992)
Compton, Susan P. and British Library, Russian Avant-Garde Books 1917-34 (London: The British Library, 1992)
———, The World Backwards: Russian Futurist Books, 1912-16 (London: British Museum Publications Ltd [for] the British Library, 1978)
‘Crafting Nation: The Challenge to Russian Folk Art in 1913’, Modernism/Modernity, 16.4 (2009), 743–65 <https://doi.org/10.1353/mod.0.0135>
Danilo Udovički-Selb, ‘Facing Hitler’s Pavilion: The Uses of Modernity in the Soviet Pavilion at the 1937 Paris International Exhibition’, Journal of Contemporary History, 47.1 (2012), 13–47 <http://www.jstor.org/stable/23248980>
David, Elliott, ‘Ruined Palaces’, in The Twilight of the Tsars: Russian Art at the Turn of the Century (London: South Bank Centre, 1991), pp. 13–29 <https://contentstore.cla.co.uk/secure/link?id=87777578-fdaf-e711-80cb-005056af4099>
David Jackson, ‘Western Art and Russian Ethics: Repin in Paris, 1873-76’, The Russian Review, 57.3 (1998), 394–409 <http://www.jstor.org/stable/131954?seq=1#page_scan_tab_contents>
Dickerman, L., ‘The Fact and the Photograph’, October, 118 (2006), 132–52 <https://www.jstor.org/stable/40368449>
Dickerman, Leah, ‘Camera Obscura: Socialist Realism in the Shadow of Photography’, October, 93 (2000) <https://doi.org/10.2307/779160>
Dickerman, Leah, Matthew Affron, and Museum of Modern Art (New York, N.Y.), Inventing Abstraction 1910-1925: How a Radical Idea Changed Modern Art (London: Thames & Hudson, 2012)
Donald Leslie Johnson, ‘Frank Lloyd Wright in Moscow: June 1937’, Journal of the Society of Architectural Historians, 46.1 (1987), 65–79 <https://www.jstor.org/stable/990146>
E. K. Valkenier, ‘Ilia Repin and His Critics’, in Critical Exchange: Art Criticism of the Eighteenth and Nineteenth Centuries in Russia and Western Europe (Bern: P. Lang, 2008), Cultural interactions : studies in the relationship between the arts, 227–41 <https://contentstore.cla.co.uk/secure/link?id=842eb0d6-3aba-e711-80cb-005056af4099>
Elizabeth, Kridl. Valkenier, ‘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, 2006), pp. 45–60 <https://contentstore.cla.co.uk/secure/link?id=bb064eb6-134a-e811-80cd-005056af4099>
Evgeny, Dobrenko, ‘Socialism as Will and Representation’, in Politėkonomii͡a Sot͡srealizma. (The Political Economy of Socialist Realism) (Moskva: Novoe literaturnoe obozrenie, 2007), Biblioteka zhurnala ‘Neprikosnovennyĭ zapas’, 1–75
Fitzpatrick, Sheila, The Commissariat of Enlightenment: Soviet Organization of Education and the Arts under Lunacharsky, October 1917-1921 (London: Cambridge University Press, 1970)
———, The Commissariat of Enlightenment: Soviet Organization of Education and the Arts under Lunacharsky, October 1917-1921 (London: Cambridge University Press, 1970)
Franklin, Simon, and Emma Widdis, eds., National Identity in Russian Culture: An Introduction (Cambridge: Cambridge University Press, 2004) <http://dx.doi.org/10.1017/CBO9780511720116>
———, National Identity in Russian Culture: An Introduction (New York: Cambridge University Press, 2004)
Frederick S. Starr, ‘OSA: The Union of Contemporary Architects’, in Russian Modernism: Culture and the Avant-Garde, 1900-1930 (Ithaca, N.Y.: Cornell University Press, 1976), pp. 188–208
Frederick Starr, ‘Le Corbusier and the USSR: New Documentation’, Cahiers Du Monde Russe et Soviétique, 21.2 (1980), 209–21 <http://www.jstor.org/stable/20169889?seq=1#page_scan_tab_contents>
Gan, Alekseĭ, and Christina Lodder, Constructivism (Barcelona: Editorial Tenov, 2013)
Geyer, Michael, and Sheila Fitzpatrick, Beyond Totalitarianism: Stalinism and Nazism Compared (Cambridge: Cambridge University Press, 2009)
Gontarʹ, S. M., and Wassily Kandinsky, Kandinskiĭ: Gody v Rossii, 1866-1921 (Krasnodar: Severnyĭ Kavkaz, 2002)
Gough, M., ‘Back in the USSR: John Heartfield, Gustavs Klucis, and the Medium of Soviet Propaganda’, New German Critique, 36.2 107 (2009), 133–83 <https://doi.org/10.1215/0094033X-2009-004>
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Groĭs, Boris, The Total Art of Stalinism: Avant-Garde, Aesthetic Dictatorship, and Beyond (Princeton, N.J.: Princeton University Press, 1992)
Gurʹi͡anova, N. A., Exploring Color: Olga Rozanova and the Early Russian Avant-Garde, 1910-1918 (Amsterdam ; Abingdon: G+B Arts International, 1999)
Gustav, Klucis, ‘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, 2004), pp. 237–40
Hal Foster, ‘Archives of Modern Art’, October, 99 (2002), 81–95 <https://www.jstor.org/stable/779125>
Hardiman, Louise, and Nicola Kozicharow, eds., Modernism and the Spiritual in Russian Art: New Perspectives (Cambridge: Open Book Publishers, 2017) <https://www.openbookpublishers.com/product/609>
Harrison, Charles, and Paul Wood, ‘AKhRR, “Declaration” (1922)’, in Art in Theory 1900-2000: An Anthology of Changing Ideas, New ed (Malden, Mass: Blackwell, 2003), pp. 384–85
———, ‘October (Association of Artistic Labour), Declaration’ (1928)’, in Art in Theory 1900-2000: An Anthology of Changing Ideas, New ed (Malden, Mass: Blackwell, 2003), pp. 465–67
Hayward Gallery, Centre de Cultura Contemporània de Barcelona, and Deutsches Historisches Museum, Art and Power: Images of the 1930s (London: South Bank Centre, 1995)
Hellyer, Peter and British Library, A Catalogue of Russian Avant-Garde Books 1912-1934 and 1969-2003, 2nd ed (London: British Library, 2006)
Hilton, Alison, ‘Matisse in Moscow’, Art Journal, 29.2 (1969), 166–73 <https://doi.org/10.2307/775225>
———, Russian Folk Art (Bloomington: Indiana University Press, 1995), Indiana-Michigan series in Russian and East European studies
———, Russian Folk Art (Bloomington: Indiana University Press, 1995), Indiana-Michigan series in Russian and East European studies
Hubertus Gassner, ‘Heartfield’s Moscow Apprenticeship 1931-32’, in John Heartfield, AIZ: Arbeiter-Illustrierte Zeitung, Volks Illustrierte, 1930-1938 (New York, NY, U.S.A: Kent, 1992), pp. 256–87
I͡Ablonskai͡a, M., and Anthony Parton, Women Artists of Russia’s New Age, 1900-1935 (London: Thames and Hudson, 1990)
Ilya, Zdanevich and Mikhail, Larionov, ‘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, 1988), pp. 79–86
J. Hahl-Koch, ‘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, 1980), pp. 84–91 <https://contentstore.cla.co.uk/secure/link?id=a84cd1d3-1c16-e811-80cd-005056af4099>
Jackson, David, ‘Western Art and Russian Ethics: Repin in Paris, 1873-76’, Russian Review, 57.3 (1998), 394–409 <https://doi.org/10.1111/1467-9434.00031>
Jackson, David L., The Wanderers and Critical Realism in Nineteenth-Century Russian Art (Manchester: Manchester University Press, 2006), Critical perspectives in art history
Jane A. Sharp, ‘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, 1992), pp. 38–52
Jean, Baudrillard, ‘The System of Collecting’, in The Cultures of Collecting, ed. by Roger Cardinal and John Elsner (London: Reaktion Books, 1994), Critical views, 7–24 <https://www.dawsonera.com/readonline/9781861894212/startPage/16/1>
John E. Bowlt, ‘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, 1979), ORP studies in Russian art history
———, ‘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, 1982), ORP studies in Russian art history, 28–46
———, ‘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, 1988), pp. 288–89
———, ‘Introduction’, in Moscow and St Petersburg in Russia’s Silver Age 1900-1920 (London: Thames & Hudson, 2008), pp. 9–63
———, ‘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 (1978), 351–53 <https://doi.org/10.2307/2497665>
———, ‘The Blue Rose: Russian Symbolism in Art’, The Burlington Magazine, 118.881 (1976), 566–75 <http://www.jstor.org/stable/878497>
———, ‘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, 1982), ORP studies in Russian art history, 444–53
———, ‘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, 1999), pp. 2–38
K. Dianina, ‘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, 2013), pp. 133–56
K. Kettering, ‘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, 2006), pp. 61–85
Kachurin, Pamela, ‘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 (2012), 19–41 <https://doi.org/10.1353/mod.2012.0001>
Kachurin, Pamela Jill, Making Modernism Soviet: The Russian Avant-Garde in the Early Soviet Era, 1918-1928 (Evanston, Ill: Northwestern University Press, 2013)
Kandinsky, Wassily, John E. Bowlt, and Rose-Carol Washton Long, The Life of Vasilii Kandinsky in Russian Art: A Study of ‘On the Spiritual in Art’ (Newtonville, Mass: Oriental Research Partners, 1980), Russian biography series
Kandinsky, Wassily, Kenneth C. Lindsay, and Peter Vergo, Kandinsky: Complete Writings on Art, Vol.1: (1901-1921) (London: Faber and Faber, 1982)
———, Kandinsky: Complete Writings on Art, Vol.2: (1922-1943) (London: Faber, 1982)
Kandinsky, Wassily, Jill Lloyd, and Neue Galerie New York, Vasily Kandinsky: From Blaue Reiter to the Bauhaus, 1910-1925 (Ostfildern: Hatje Cantz, 2013)
Katerina Clark, ‘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, 2011), ACLS Humanities E-book, 42–77 <https://www.jstor.org/stable/j.ctt24hjm6.4>
———, ‘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, 2011), ACLS Humanities E-book, 105–35 <https://www.jstor.org/stable/j.ctt24hjm6.6>
Kazimir, Malevich, ‘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, 1988), pp. 116–35
Kean, Beverly Whitney, All the Empty Palaces: The Merchant Patrons of Modern Art in Pre-Revolutionary Russia (New York: Universe Books, 1983)
Kean, Beverly Whitney, and Beverly Whitney Kean, French Painters, Russian Collectors: The Merchant Patrons of Modern Art in Pre-Revolutionary Russia, Rev. and updated ed (London: Hodder & Stoughton, 1994)
———, French Painters, Russian Collectors: The Merchant Patrons of Modern Art in Pre-Revolutionary Russia, Rev. and updated ed (London: Hodder & Stoughton, 1994)
Kennedy, Janet, The ‘Mir Iskusstva’ Group and Russian Art, 1898-1912, 1976
———, The ‘Mir Iskusstva’ Group and Russian Art, 1898-1912 (New York: Garland Publishing, Inc, 1977), Outstanding dissertations in the fine arts
Kiaer, Christina, ‘Boris Arvatov’s Socialist Objects’, October, 81 (1997), 105–18 <https://doi.org/10.2307/779021>
———, Imagine No Possessions: The Socialist Objects of Russian Constructivism (Cambridge, Mass: MIT Press, 2005)
King, David, 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, 2009)
Kokkinaki, Irina, ‘First Exhibition of Modern Architecture in Moscow {1927}.’, Architectural Design, 53.5/6 (1983)
Kudryavtseva, Tamara and Gosudarstvennyĭ Ėrmitazh (Russia), Circling the Square: Avant-Garde Porcelain from Revolutionary Russia (London: Fontanka, 2004)
Leon, Trotsky, ‘Literature and Revolution (1922-3)’, in Art in Theory 1900-2000: An Anthology of Changing Ideas, New ed (Malden, Mass: Blackwell, 2003), pp. 427–32
Linda, Boersma, ‘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, 2007), pp. 223–36
M. Dabrowski, ‘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, 1992), pp. 145–68 <https://contentstore.cla.co.uk/secure/link?id=c661204f-9fc3-e711-80cb-005056af4099>
Malevich, Kazimir Severinovich, Kazimir Malevich, ed. by Achim Borchardt-Hume (London: Tate Publishing, 2014)
Mally, Lynn, Culture of the Future: The Prolekult Movement in Revolutionary Russia (Berkeley, [Calif.]: University of California Press, 1990), Studies on the history of society and culture
Maria Gough, ‘Back in the USSR: John Heartfield, Gustavs Klucis, and the Medium of Soviet Propaganda’, New German Critique, 36.107 (2009), 133–83 <http://ngc.dukejournals.org/content/36/2_107/133.abstract>
———, ‘Composition and Construction’, in The Artist as Producer: Russian Constructivism in Revolution (Berkeley: University of California Press, 2005), pp. 21–60
Maria, Gough, ‘Constructivism Disoriented: El Lissitzky’s Dresden and Hanover Demonstrationraume’, in Situating El Lissitzky: Vitebsk, Berlin, Moscow (Los Angeles, CA: Getty Research Institute, 2003), Issues&debates, 77–129
Maria Gough, ‘Drawing Between Reportage and Memory: Diego Rivera’s Moscow Sketchbook’, October, 145 (2013), 67–84 <https://www.jstor.org/stable/24586644>
———, ‘In the Laboratory of Constructivism’, in The Artist as Producer: Russian Constructivism in Revolution (Berkeley: University of California Press, 2005), pp. 61–100
———, ‘In the Laboratory of Constructivism’, in The Artist as Producer: Russian Constructivism in Revolution (Berkeley: University of California Press, 2005), pp. 61–99
———, ‘Introduction: Made in Moscow’, in The Artist as Producer: Russian Constructivism in Revolution (Berkeley: University of California Press, 2005), pp. 1-19-199–201 <https://contentstore.cla.co.uk/secure/link?id=f9ba9803-9dcf-e711-80cd-005056af4099>
Markov, Vladimir, Russian Futurism: A History (Washington, DC: New Academia, 2006)
———, Vladimir Markov and Russian Primitivism: A Charter for the Avant-Garde (Burlington: Ashgate, 2015), Studies in art historiography
Michael Geyer and Sheila Fitzpatrick, eds., Beyond Totalitarianism: Stalinism and Nazism Compared (Cambridge: Cambridge University Press, 2008) <https://doi.org/10.1017/CBO9780511802652>
Mikhail, Larionov and Natalia, Goncharova, ‘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, 1988), pp. 87–91
Milner, John, Vladimir Tatlin and the Russian Avant-Garde (New Haven: Yale University Press, 1983)
———, Vladimir Tatlin and the Russian Avant-Garde (New Haven: Yale University Press, 1983)
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———, ‘Painting History, Realistically’, in From Realism to the Silver Age: New Studies in Russian Artistic Culture : Essays in Honor of Elizabeth Kridl Valkenier, ed. by Rosalind P. Blakesley and Margaret Samu (DeKalb, IL: NIU Press, 2014), Studies of the Harriman Institute, 94–110
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———, ‘Deconstructing the Canon: Russian Futurist Books’, in The Aesthetics of Anarchy: Art and Ideology in the Early Russian Avant-Garde (Berkeley: University of California Press, 2012), pp. 132–60
———, ‘Victory Over the Sun and the Theater of Alogism’, in The Aesthetics of Anarchy: Art and Ideology in the Early Russian Avant-Garde (Berkeley: University of California Press, 2012), pp. 112–31
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———, ‘Cold War Cultural Transactions: Designing the USSR for the West at Brussels Expo ’58’, Design and Culture, 9.2 (2017), 123–45 <https://doi.org/10.1080/17547075.2017.1333388>
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———, ‘Facts and Fallacies’, in The Russian Canvas: Painting in Imperial Russia, 1757-1881 (New Haven: Yale University Press, 2016), pp. 242–50
———, ‘Humour on the Wane’, in The Russian Canvas: Painting in Imperial Russia, 1757-1881 (New Haven: Yale University Press, 2016), pp. 217–29
———, ‘Revolt’, in The Russian Canvas: Painting in Imperial Russia, 1757-1881 (New Haven: Yale University Press, 2016), pp. 230–40
———, ‘The French Contention’, in The Russian Canvas: Painting in Imperial Russia, 1757-1881 (New Haven: Yale University Press, 2016), pp. 256–63
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———, ‘Culture for the Masses’, in Dreamworld and Catastrophe: The Passing of Mass Utopia in East and West (Cambridge, Mass: MIT Press, 2000), pp. 134–73
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