"As ""artist-engineer"" or ""production artist"", as Rodchenko called himself, the artist-couple designed superb and revolutionary pieces in nearly every area of the fine and applied arts : painting, drawing, collage, advertising, graphic design, typography, architecture as well as tableware, furniture and fabrics."

On the occasion of its 100th anniversary in 2009, the Staatliche Kunsthalle Baden-Baden focuses on the work of Kazimir Malevich in the context of his time, and thus on the epoch immediately after its inauguration. This large state exhibition on the Russi

[This catalogue was published on the occasion of the Exhibition "Contemporary Photographic Art from Moscow" ; Neuer Berliner Kunstverein, 29. September bis 12. November 1995 ; Ifa-Galerie Friedrichstrasse, 29. September bis 5. November 1995 ; Akademie der Künste, 29. September bis 29. Oktober 1995 ; AES Group ...].

Abstracts of journal articles, books, essays, exhibition catalogs, dissertations, and exhibition reviews. The scope of ARTbibliographies Modern extends from artists and movements beginning with Impressionism in the late 19th century, up to the most recent works and trends in the late 20th century. Photography is covered from its invention in 1839 to the present. A particular emphasis is placed upon adding new and lesser-known artists and on the coverage of foreign-language literature. Approximately 13,000 new entries are added each year. Published with title LOMA from 1969-1971.

Edited by Magdalena Dabrowski, Leah Dickerman and Peter Galassi. Essays by Magdalena Dabrowski, Leah Dickerman, Peter Galassi, Aleksandr Lavrent'ev and Varvara Rodchenko. Foreword by Glenn D. Lowry.

In Soviet Salvage, Catherine Walworth explores how artists on the margins of the Constructivist movement of the 1920s rejected “elitist” media and imagined a new world, knitting together avant-garde art, imperial castoffs, and everyday life. Applying anthropological models borrowed from Claude Lévi-Strauss, Walworth shows that his mythmaker typologies—the “engineer” and “bricoleur”—illustrate, respectively, the canonical Constructivists and artists on the movement’s margins who deployed a wide range of clever make-do tactics. Walworth explores the relationships of Nadezhda Lamanova, Esfir Shub, and others with Constructivists such as Aleksei Gan, Varvara Stepanova, and Aleksandr Rodchenko. Together, the work of these artists reflected the chaotic and often contradictory zeitgeist of the decade from 1918 to 1929 and redefined the concept of mass production. Reappropriated fragments of a former enemy era provided a wide range of play and possibility for these artists, and the resulting propaganda porcelain, film, fashion, and architecture tell a broader story of the unique political and economic pressures felt by their makers. An engaging multidisciplinary study of objects and their makers during the Soviet Union’s early years, this volume highlights a group of artists who hover like free radicals at the border of existing art-historical discussions of Constructivism and deepens our knowledge of Soviet art and material culture.