TABLE OF CONTENTS

PRINT February 2006

books

the Russian Avant-garde

OUR KNOWLEDGE OF Russian Constructivism has progressed in huge spurts separated by steady trickles of information. While the broad chronological scope of Camilla Gray’s inaugural study of 1962, The Great Russian Experiment in Art: Russian Art, 1863–1922, meant that the author could only barely touch on Constructivism, the book sparked the interest of artists, scholars, and curators alike. This enthusiasm intensified as the political upheavals of the late ’60s in Europe and the United States propelled the issue of the relationship between art and politics to the fore. Gray’s book was followed by two solid decades of exhibitions and publications (the latter mostly of primary texts). But because censorship concerning the Soviet avant-garde prevailed in Russia during most of this period, information could only remain fragmentary, brought back by scholars such as Andrei Nakov or John Bowlt who

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