School of Arts

 

About

Christina has contributed enormously to western understanding of the development of Russian modernism.  She has produced numerous books, articles, reviews, essays for exhibition catalogues, conference papers, and public lectures (in Europe, North America and China).  Particular areas of interest include Russian Constructivism and the artists Naum Gabo and Kazimir Malevich.   back to top

Publications

Publications: 

Books:

Russian Constructivism (New Haven and London: Yale University Press, l983), 328pp.   1985 paper back edition.  1988 3rd printing.  1990 4th printing.   1998 5th printing.

El Constructivsmo Russo (Madrid: Editorial Alianza S.A.C., l988), 327 pp.
Russian Painting of the Avant-Garde l906-1924 (Edinburgh: Scottish National Gallery of Modern Art, l993), 95pp.
M. Hammer and C. Lodder,  Constructing Modernity: The Art and Career of Naum Gabo (New Haven and London: Yale University Press, 2000), 529pp

M. Hammer and C. Lodder, eds., Gabo on Gabo: Texts and Interviews (Forest Row, Sussex: Artists Bookworks, 2000), 295pp

Constructive Strands in Russian Art (London: Pindar Press, 2005), 596 pp.

C. Douglas and C. Lodder, eds., Rethinking Malevich: Proceedings of a Conference in Celebration of the 125th Anniversary of Kazimir Malevich’s Birth (London: Pindar Press, 2007), 381pp.

Christina Lodder, Maria Kokkori and Maria Mileeva, eds., Utopian Reality: Reconstructing Culture in Revolutionary Russia and Beyond (Leiden: Brill, 2013), 271pp.

Introduction, translation and editing, Aleksei Gan, Constructivism (Barcelona: Tenov, 2013)  166 pp.

 

Articles in Books:

  1. ‘Exhibitions of Russian Art after 1922’, The First Russian Show,  exhibition catalogue (London:Annely Juda Fine Art, l983), pp. 80-83.
  1. Trans.  N. Tarabukin, Ot molberta k mashine (From the Easel to the Machine), l922, for eds.,  F. Frascina and C. Harrison,  Modern Art and Modernism:  An Anthology of Critical Texts (London, l983), pp.135-142
  1. Trans.  N. Punin ‘The Monument to the Third International’,  Modern Art and Modernism:  A315 Texts (Milton Keynes: Open University, l983).
  1. Trans. and introduction ‘The Programme of the First Working Group of Constructivists’, Modern Art and Modernism: A315 Texts (Milton Keynes: Open University, l983).
  1. Entries on Vrubel, Breuer and others in ed., L. Gowing,  A Biographical Dictionary of Artists, (London, l983).
  1. *C. Sanderson and C. Lodder, ‘Catalogue Raisonné of the Constructions and Sculptures of Naum Gabo’, in eds., S. Nash & J. Merkert, Naum Gabo:  Sixty Years of Constructivism (Munich: Prestel Verlag, l985), pp. 193-272
  1. C. Sanderson and C. Lodder ‘Catalogue Raisonné der Konstruktionen und Plastiker’ in eds., S. Nash & J. Merkert,  Naum Gabo:  Sechzig Jahre Konstruktivizmus (Munich: Prestel Verlag, l986), pp.193-272
  1. ‘Gabo in Russia and Germany 1890-1922:  A Biographical Study’ in eds., S.Nash and  J. Merkert, Naum Gabo:  Sixty Years of Constructivism, (Munich: Prestel Verlag, l985), pp. 47-54
  1. ‘Gabo in Russland and Deutschland 1890-1932:  Eine biographische Studie’, in ed.,  S. Nash and J. Merkert, Naum Gabo:  Sechzig Jahre Konstruktivismus (Munich: Prestel Verlag, l986), pp. 51-61
  1. ‘Oleg Kudryashov’, in Oleg Kudryashov:  Recent Works, exhibition catalogue (Washington, l986), pp.3-4.
  1. ‘Cherry Pickles’, Introduction to Recent Paintings, exhibition catalogue (London, l987),  pp.1-3.
  1. M. Hammer and C. Lodder, ‘The Monoprints in the Life and Work of Naum Gabo’, in The Monoprints of Naum Gabo (Cambridge: Kettle's Yard, University of Cambridge, March l987), pp.7-14.
  1. ‘Tatlin's Monument to the Third International as a Symbol of Revolution ‘ in G. Weisberg and L. Dixon, eds.,  The Documented Image:  Visions in Art History (Syracuse: Syracuse University Press, l987), pp.275-88.
  1. M. Hammer and C. Lodder, ‘Naum Gabo and the Constructive idea of Sculpture’ in Naum Gabo:  The Constructive Idea:  Sculpture, Drawings, Paintings, Monoprints (London: South Bank Board, l987), pp. 41-51.
  1. ‘Drawing in Space’, Oleg Kudryashov, exhibition catalogue (Zurich, l988), pp.22-30.
  1. Trans. and edited Oleg Kudryashov, ‘Credo’, in  Oleg Kudryashov, exhibition catalogue (Zurich, l988), pp. 31-36
  1. eds., Chris Carroll, Katya Young, Euan McArthur, and Christina Lodder, The Rodchenko Family Workshop, (Glasgow: New Beginnings; and London: Serpentine Gallery, l989), 90pp.
  1. ‘Rodchenko and Stepanova’, ibid., pp. 6-7.
  1. ‘The Costakis Collection:  New Insights into the Russian Avant Garde’, Russian Avant Garde Art (London: Sotheby's, l990), pp.3-26.
  1. ‘Risunok v prostranstve’ in Kudryashov, exhibition catalogue (Moscow: Sovetskii Khudozhnik, l990), pp.17-24.
  1. ‘Constructivism and Productivism in the 1920s’, Art into Life:  Russian Constructivism l914-1932 (New York: Rizzoli Publications,1990), pp.99-118.
  1. ‘Del neoprimitivismi al constructivismo:  introduccion  a la Vanguardia Rusa’, in La Epoca Heroica:  Obra grafica de la vanguardias rusa y hungara 1912-1925 Las Colecciones Suizas (Valencia: IVAM Centre Julio Gonzalez, l990), pp. 15-26.
  1. ‘Drawing in Space’,  Oleg Kudryashov:  Constructions, Drypoints, Reliefs, exhibition catalogue (London,  l991), pp. 3-7.
  1. M. Hammer and C. Lodder,  ‘Ein kreativer Dialog:  Gustav Klucis, Antoine Pevzner und Naum Gabo’ in eds., Hubertus Gassner and Roland Nachtigaller, Gustav Klucis: Retrospektive (Kassel: Museum Fredericanum, 1991), pp.57-73.
  1. M. Hammer and C. Lodder, ‘Naum Gabo and  The Constructive idea of Sculpture’, in Naum Gabo:  The Constructive Idea:  Sculpture, Drawings, Paintings, Monoprints, South Bank Board, touring exhibition, 1987, pp.41-51, reprinted in Modern Arts Criticism (New York, Detroit and London: Gales Research Inc.,l992), vol.1, pp. 241-246.
  1. M. Hammer and C. Lodder, ‘The Abstract Utopia:  The Invention of Abstract Art’, The Non-Objective World catalogue for touring exhibition (London: South Bank Board, l992), pp.9-32
  1. ‘Der Ubergang zum Konstruktivismus’,  Die Grosse Utopie:  Die Russische Avantgarde 1915-1932 (Frankfurt : Shirn Kunsthalle, l992), pp.95-108.
  1. ‘The Transition to Constructivism:  Terms of Transition’, Die Grote Utopie:  Russische Avantgarde 1915-1932 (Amsterdam: Stedelijk Museum, 1992), pp.170-183.
  2. *’The Transition to Constructivism’, The Great Utopia:  The Russian and Soviet Avant-Garde 1915-1932 (New York: Solomon R. Guggenheim Museum, l992), pp. 266-281.
  3. ‘Perekhod k konstructivizmu’, Velikaya utopiya: Russkii i sovetskii avangard 1915-1932 (Moscow: Izdatelstvo Galart, 1993), pp. 110-123
  4. M. Hammer and C. Lodder, ‘Gabos Entwurf für den Palast der Sowjets’, in Naum Gabo und der Wettbewerb zum Palast der Sowjets Moskau 1931-33  (Berlin: Berlinische Galerie, l992), pp.15-35.
  5. *M. Hammer and C. Lodder, ‘Naum Gabo's Design for the Palace of Soviets’,  Naum Gabo and the Competition for the Palace of Soviets, Moscow, l931-1933 (Berlin: Berlinische Galerie, l993), pp.16-33.
  6. Trans:  Naum Gabo, ‘Explanatory Note to the Palace of Soviets Project (Motto:  ‘AZ’)’,  Naum Gabo and the Competition for the Palace of  Soviets, Moscow 1931-1933 (Berlin: Berlinische Galerie, 1992-3), pp. 48-51.
  7. M. Hammer and C. Lodder, ‘Proekt Dvortsa Sovetov Gabo’, Naum Gabo i Konkurs na Dvorets Sovetov Moskva 1931-33 (Moscow: Muzei arkhitektury im. Shchuseva, l993), pp. 255-269.
  8. M. Hammer and C. Lodder, ‘El proyecto de Gabo para el Palacio de los Soviets’, Naum Gabo y el Concurso para el Palacio de los Soviets, Moscu 1931-1933 (Valencia: IVAM, Centre Julio Gonzalez, l993), pp.15-34.
  9. *’The Vkhutemas and the Bauhaus’ in eds., G. Harrison Roman and V. Hagelstein Marquardt,  The Avant-Garde Frontier:  Russia Meets the West 1910-1930 (Gainesville, FL.: University Press of Florida, l992), pp. 196-240.
  10. Trans., ‘Aleksander Rodchenko (1891-1956) and Vavara Stepanova (1894-1958), 'Programme of the First Working Group of Constructivists’, in eds., C. Harrison and    P. Wood, Art in Theory:  1900-1990:  An Anthology of Changing Ideas (Oxford: Blackwells, l992), pp.317-318.
  11. Trans:  ‘Nikolai Punin (1888-1953) 'The Monument to the Third International’  in eds., C. Harrison and P. Wood, Art in Theory:  1900-1990:  An Anthology of Changing Ideas (Oxford: Blackwells, l992), pp.311-315.
  12. ‘Lenin's Plan for Monumental Propaganda’ in eds., M. Collerne Brown and B. Taylor, Art of the Soviets:  Painting, Sculpture and Architecture in a One-Party State, 1917-1992 (Manchester: Manchester University Press, l993), pp.16-32.
  13. *’Tatlin and Naum Gabo’ in ed., Jürgen Harten, Vladimir Tatlin:  Leben, Werk, Wirkung:  Eine internationales Symposium (Cologne: DuMont Buchverlag, l993), pp. 231-240.
  14. ‘O vliyanii Vladimira Tatlina na Nauma Gabo’, in ed., Jürgen Harten,  Vladimir Tatlin:  Leben, Werk, Wirkung: Eine internationales Symposium, (Cologne: DuMont Buchverlag, l993), pp. 450-458
  15. ‘El arte de vanguardia en Russia:  experimento e innovación l905-1925’, La Vanguardia Rusa 1905-1925 en las Colecciones de los Museos Rusos Fundación Central Hispano, l993), pp. 19-35.
  1. M. Hammer and C. Lodder, ‘Kállai en 'Der Plastiker Gabo'‘. in ed., Toke van Helmond, i10 sporen van de avant-garde  exhibition catalogue (Heerlen, l994), pp. 89-100.
  1. *M. Hammer and C.Lodder, Gabo's Stones, exhibition catalogue (Leeds: Henry Moore Institute, The Centre for the Study of Sculpture, l995), 8pp.
  2. M. Hammer and C. Lodder, ‘Les rapports artistiques de Naoum Gabo et d'Antoine Pevsner au cours des annés vingts’, in Pevsner (1884-1962) : Colloque international Antoine Pevsner tenu au musée Rodin en décembre 1992 sous la direction de Jean-Calude Marcadé (Paris : Art édition, 1995), pp. 112-121.
  3. *M. Hammer and C. Lodder, ‘Hepworth and Gabo : A Constructive Dialogue’, in ed., David Thistlewood, coordinator Anne Macphee, Barbara Hepworth Reconsidered (Liverpool: Liverpool University Press, Critical Forum Series, vol. 3, 1996), pp. 109-133.
  4. ‘Productivism’, in ed., Anna Kafetsi, Russian Avant-Garde 1910-1930 : The George Costakis Collection (Athens: The Ministry of Culture, National Gallery and Alexandros  Soutzos Museum, European Cultural Centre of Delphi, December 1995-April 1996), pp. 366-371, 371-413 and 523-543.
  5. Essays on European and Soviet Constructivism, and entries on Lyubov Popova, Aleksandr Vesnin, Aleksandra Ekster, Varvara Stepanova, Mikhail Matyushin, Ivan Puni (Jean Pougny) and others for The Dictionary of Art (London: Macmillan, l996)
  6. ‘Lyubov Popova’ and ‘Varvara Stepanova’ in Dictionary of Women Artists, (London: Fitzroy Dearborn, l997), pp. 1104-1108 and 1314-1316.
  7. ‘The Figure in the Abstract’, Caroline McNairn: New Paintings, exhibition catalogue (Edinburgh: Bourne Fine Art, 1997), p.3.
  8. ‘The Press for a New Art In Russia, 1917-1921’, in ed., V. H. Marquadt, Art and Journals on the Political Front, 1910-1940 (Gainsville, FL.: University Pres of Florida, 1997), pp. 63-99.
  9. ‘Naum Gabo: skul'ptura i arkhitektura v novom edinenii’, in Georgii Kovalenko, ed., Avangard 1910kh - 1920kh godov, Vzaimodeistvie iskussty, (Moscow: Gosudarstvennyi institut iskusstvoznaiya, 1998), pp. 240-247.
  10. ‘Malevich’s Suprematism: Reconciling the Spiritual and the Technological’, Vostok-Rossiya-Zapad: Mirovye Religii i Iskusstvo (St Petersburg: State Hermitage, 2001), pp. 220-224.
  11. ‘The Emergence of Constructivism’, in Lutz Becker, ed., Construction: Tatlin and After (Thessaloniki: State Museum of Contemporary Art, Costakis Collection, 2001), pp. 42-71.
  12. M. Hammer and C. Lodder, ‘Naum Gabo: For and Against Tatlin’, in Lutz Becker, ed., Construction: Tatlin and After (Thessaloniki: State Museum of Contemporary Art, Costakis Collection, 2001), pp.29-41
  1. ‘Art into Life: International Constructivism in Central and Eastern Europe’, Central European Avant Gardes (Los Angeles and Cambridge MA.: Los Angeles County Museum of Art and MIT Press, 2002), pp. 172-198.
  2. ‘Lissitzky and International Constructivism’, in Nancy Perloff and Brian Reeds, eds., Situating El Lissitzky: Vitebsk, Berlin, Moscow (Los Angeles, Getty Research Institute, 2003), pp. 27-47.
  3. ‘Naum Gabo and Suprematism’, in Evgenii Petrova, ed., The Russian Avant-Garde: Personality and School (St Petersburg: Palace Editions, 2003), pp. 124-139
  4. ‘Otvet na vyzov sovremennosti: Gabo i nauka’/ ‘Answering the scientific challenge: The Sculpture of Naum Gabo in the 1920s and 1930s’, in Iskusstvo XX veka. Itogi stoletiya. Izbrannye materially konferentsii dekabrya 1999 / XX Century Art: Achievementrs, Traditions, Innovations, St Petersburg, State Hermitage, 2003, pp.108-114 and 271-276.
  5. Martin Hammer and Christina Lodder, ‘Dematerialising Sculpture: Methods and Motives’, in Immaterial: Brancusi, Gabo, Moholy-Nagy exhibition catalogue (Cambridge: Kettle’s Yard, 2004), pp. 46-69.
  6. ‘Soviet Constructivism’ in eds., Steve Edwards and Paul Wood, Art of the Avant-Gardes (New Haven and London: Yale University Press in association with the Open University, 2004), pp.359-394.
  7. ‘Constructivist Colour and Liubov Popova’s Designs for The Magnanimous Cuckold’, Licht und Farbe in der Russischen Avant Garde die Sammlung Costakis (Berlin: Martin Gropius Bau; Vienna:  Museum Moderner Kunst Stiftung Ludwig; andThessaloniki: Museum for Contemporary Art, 2004-5), pp. 254-259; pp. 486-488, and 607-9.
  1. ‘Searching for Utopia’, in Christopher Wilk, ed., Modernism: Designing a New World 1914-1939, exhibition catalogue (London: Victoria and Albert Museum, 2006), pp. 23-69. I was one of the curatorial team and wrote over 50 catalogue entries. My total contribution to the catalogue was over 27,000 words.
  1. ‘Russische abstrakte Kunst/Russian Abstract Art’, Von Kandinsky bis Tatlin: Konstruktivismus in Europa/From Kandinsky to Tatlin: Constructivism in Europe (Schwerin: Staatliches Museum; and Bonn: Kunstmuseum, 2006), pp. 43-55.
  1. ‘Constructivism’, Supplement to the Modern Encyclopedia of Russian, Soviet and Eurasian History (Florida: Academic International Press, Vol. 7, 2006), pp. 64-69.
  1. ‘International  Constructivism and the Legacy of Unovis in the 1920s: El Lissitzky, Katarzyna Kobro and Wladislaw Strzeminski’ in Local Strategies - International Ambitions:  Modern Art and Central Europe 1918-1968 (Prague: Artefactum, Institute of Art History, Academy of Sciences of the Czech Republic, 2006), pp. 195-295.
  1. ‘Creating the New Man: Workers’ Clubs in the Soviet Union in the 1920s’ in Avangard i kul’tury: iskusstvo, dizain, sreda. Materialy Mezhdunarodnoi nauchnoi konferentsii 17-19 maya 2007 Minsk, Belarus (Minsk: GIUST BGU, 2007), pp. 100-106.
  1. ‘The Idea of Constructivism: East and West’, in Avangard i kul’tury: iskusstvo, dizain, sreda. Materialy Mezhdunarodnoi nauchnoi konferentsii 17-19 maya 2007 Minsk, Belarus (Minsk: GIUST BGU, 2007), pp. 151-159.
  1. ‘Living in Space: Kazimir Malevich’s Suprematist Architecture and the Philosophy of Nikolai Fedorov’ in eds. C. Douglas and C. Lodder, Rethinking Malevich: Proceedings of a Conference in Celebration of the 125th Anniversary of Kazimir Malevich’s Birth (London: Pindar Press, 2007), pp. 172-202.
  1. ‘Malevich Scholarship: A Brief Introduction’, in Rethinking Malevich: Proceedings of a Conference in Celebration of the 125th Anniversary of Kazimir Malevich’s Birth Conference Proceedings (London: Pindar Press, 2007), pp. ix-xxii.
  1.  ‘Pure Painting: Abstractionism in Russia’, in From Russia: French and Russian Master Paintings 1870-1925 From Moscow and St Petersburg, exhibition catalogue (London: Royal Academy, 2008), pp 188-196.
  1. ‘Constructivism: Art and Architecture – A New Synthesis’, Lost Vangard Found: A Synthesis of Architecture and Art in Russia (Thessaloniki: State Museum of Contemporary Art, Costakis Collection, 2008), pp. 102-107. 
  2. ‘Aleksandr Rodchenko: Constructivist or Productivist’, in  Rodchenko:Constructing the Future (Barcelona:Caixa Catalunya, 2008), pp. 92-101.
  3. С. В. Кудрявца and КристинаЛоддер, ‘Русские конструктивисты в эмиграции: письма Антона Певзнера к Науму Габо 1920-е годы’, in  Художественная культура русского зарубежья. Сборник статей (Москва: Индиик, 2008), pp. 78-89
  4. ‘Kazimir Malevich’s Suprematist Architecture,’ in Η τέχνη τον 20ού αιώα. Іδτορια Θερια. Εμπερία (Thessaloniki, 2009), 687-697.
  5. ‘Gustavs Klucis an Exemplary Constructivist’ in Gustavs Klucis: On the Constructivist Art Front: Works for the Latvian National Museum of Art and Other Collections (Seville: Cajasol Obra Social; and Cordoba:, Viviendas Municipales de Cordoba, 2009), pp. 20-29
  6. ‘Gustavs Klucis, un Constructivista exemplar’ in Gustavs Klucis: En el frente del arte consgtructivista: Obras del Museo Nacional de Arte de Letonia y de otras colecciones (Seville: Cajasol Obra Social; and Cordoba: Viviendas Municipales de Cordoba, 2009), pp. 31-42.
  7. ‘The Painter as Architect: Explorations Towards a Constructivist Architecture’, in Building The Revolution: Soviet Art and Architecture 1915-1935 (London: Royal Academy of Arts, 2011), pp.  96-99.
  8. ‘L’avant-garde russe et la non-figuration’ in L’abstraction en Europe: le choix d’un collectionneur allemande (Saint Paul de Vence: Fondation Maeght, 2011), pp. 9-27.
  9. ‘The Russian Avant-garde and Non-Objective Art’, in L’abstraction en Europe: le choix d’un collectionneur allemande (Saint Paul de Vence: Fondation Maeght, 2011), pp.136-142.
  10. ‘The Experiments at the Vkhutemas School’, in Red Cavalry: Creation and Power in Soviet Russia Between 1917 and 1945 exhibition catalogue (Madrid: Caja, 2011), pp. 104-123.
  11. Trans. Nikolai Tarabukin, ‘From the Easet to the Machine, 1923’, in Aleksandr Deineka [1899-1969]: An Avant-Garde for the Proletariat exhibition catalogue (Madrid: Fundacion Juan March, 2011), pp. 345-351.
  12. ‘Kazimir Malevich and the Designs for Victory over the Sun’, in Rosamund Bartlett and Sarah Dadswell, eds. Victory over the Sun: The World’s First Futurist Opera (Exeter: University of Exeter Press, 2012), pp. 178-193
  13. ‘Ideology and Identity: El Lissitzky in Berlin’, in Jörg Schulte, Olga Tabachnikova and Peter Wagstaff, eds., The Russian Jewish Diaspora and European Culture, 1917-1937 (Leiden and Boston: Brill, 2012), pp. 339-364.
  14. ‘Une transfiguration de la réalité: le suprématisme et la vue aérienne’, in  Seize etudes pour une historie culturelle: vues aériennes, ed. Mark Dorrian and Frédéric Pousin (Geneva: Métis Presse, 2012), pp. 79-93.
  15. ‘The Russian Avant-Garde and Non-Objective Art’, Constructivism in Europe: From Malevich to Kandinsky (Beijing: Art Museum of China, 2012),  pp. 29-36 & 39-53.
  16. ‘Man, Space and the Zero of Form: Kazimir Malevich’s Suprematism and the Natural World’, in Paul Crowther & Isabel Wünsche eds., Meanings of Abstract Art: Between Nature and Theory (London: Routledge, 2012), pp. 47-63.
  17. ‘Made in Russia: Strzemiński i rosyjska awangarda’, in Powidoki życia. Własysław Stremiński i prawa dla sztuki (Łodz: Muzeum Sztuki, 2012), pp. 157-179
  18. ‘ Made in Russia: Strzemiński and the Russian Avant-Garde’, in Afterimages of Life: Własysław Stremiński and Rights for Art (Łodz: Muzeum Sztuki, 2012), pp. 181 -199.
  19. ‘Innovative Form and Hidden Meaning: Kazimir Malevich and Russian Reality’, in Refelctions on the Collection of the Stedelijk Museum Amsterdam (Amsterdam: Stedelijk Museum/na010 publishers, 2012), pp. 145-156.
  20. ‘St Petersburg/Petrograd/Leningrad: From Aesthetes to Revolutionaries’, in Peter Brooker, Sascha Bru, Andrew Thacker and Christian Weikop, The Oxford Critical and Cultural History of Modernist Magazines, vol. III, Europe, 1880-1940, Part II (Oxford: Oxford University Press, 2013), pp. 1248-1275 (with Peter Hellyer)
  21. ‘From Futurist Iconoclasm to Socialist Construction’, in Peter Brooker, Sascha Bru, Andrew Thacker and Christian Weikop, The Oxford Critical and Cultural History of Modernist Magazines, Vol. III, Europe, 1880-1940, Part II (Oxford: Oxford University Press, 2013), pp.1299-1318.
  22. ‘Vladimir Tatlin und Kazimir Malevich – Eine kreativer Dialog’/ ‘Vladimir Tatlin i Kazimir Malevich: tvorcheskii dialog’/ ‘Vladimir Tatlin and Kazimir Malevich: A Creative Dialogue’ in Tatlin: neue Kunst fur eine neue Welt: Internationales Sympoisum/ Tatlin novoe iskusstvo dlya noogo mira. Mezhdunarodnyi simpozium/ Tatlin: new art for a new world: Intenational Symposium (Basel: The Museum Tinguely, 2013), pp. 33-37; 139-143; 243-247.
  23. Naum Gabo’s Relief Construction for the Rubber Company Building’, in Naum Gabo (New York: Gerald Peters Gallery, 2014), pp. [5-8].
  24. ‘Malevich as Exhibition Maker’, in Achim Borchardt-Hume, ed., Malevich (London: Tate Publishing, 2014), pp. 94-98.
  25. ‘Kazimir Malevich and the First World War’, in John E. Bowlt, Nicoletta Misler and Elena Sudakova, A Game in Hell: The Great War in Russia: Graphic Art and Photography from the Collection of Sergey Shestakov (London: GRAD Publishing, 2014), p. 99-109.

 

Articles in Journals

  1. *’Constructivist theatre as a laboratory for an architectural aesthetic’, Architectural Association Quarterly, vol. II, no. 2, l979, pp. 24-35.
  2. ‘Lenin's Plan of Monumental Propaganda’, Sbornik:  Study Group on the Russian Revolution, no. 6/7, l981, pp. 67-82
  3. ‘The Costakis Collection:  New Insights into the Russian Avant-Garde,’ Architectural Design, vol.53, no. 5/6, l983, pp. 14-33.
  4. Trans. I. Kokkinaki, ‘The First Exhibition of Modern Architecture’, Architectural Design, vol. 53, no. 5/6, l983, pp. 50-59.
  5. ‘Oleg Kudryashov’, Art Monthly, March l983, pp. 17-18
  6. ‘Kazimir Malevich (1878-1935):  Malevich and Unovis’, Scottish Slavonic Review, no. 5, l985, pp. 160-163.
  7. ‘Naum Gabo in England:  Some New Documentation’,  Art Monthly, March l987, pp. 3-5.
  8. ‘Naum Gabo on Constructive Art’ Australian and International Art Monthly, no. 2, July l987, pp.5-8
  9. ‘Gabo and the Russian Avant-Garde l917-1922’,  Scottish Slavonic Review, no. 12/13 l989, pp. 253-4
  10. ‘Lyubov Popova:  A Revolutionary Artist’, Revolutionary Russia, vol. 3, no. 2 December l990, pp. 151-182.
  11. ‘The VKhUTEMAS and the Bauhaus:  A Creative Dialogue’, in Art and Design Profile:  The Great Russian Utopia, no.29, l993, pp. 28-41.
  12. Art of the Commune: Politics and Art in Soviet Journals, 1917-20’, Art Journal, Spring l993, pp.24-33.
  13. M. Hammer and C. Lodder, ‘Radical Constructivism in the late 1920's: Karel Teige, Naum Gabo and their milieu’, Umeni (Prague), no. 1-2, 1995, pp. 85-88.
  14. ‘The Transrational in Painting: Kazimir Malevich, Alogism and zaum'‘, Forum for Modern Language Studies: The International Avant-Garde ed., Peter Read, vol. xxxii, no. 2, April 1996, pp. 119-136.
  15. ‘Obituary: Evgenii Fedorovich Kovtun (1928-1996)’ The Burlington Magazine, May, 1996, p. 329
  16. M. Hammer and C. Lodder, ‘Ernst  Kállai and 'The Sculptor Gabo'‘, Acta Historiae Artium Hungarica Tomus 37 1994-5 (Budapest) No. 37, 1996, pp. 279-282.
  1. M. Hammer and C. Lodder, ‘A Constructivist pas de deux : Gabo and Diaghilev’, Eksperiment/Experiment (Los Angeles) No. 2, 1996, pp. 80-99.
  2. ‘Seeing Red: El Lissitzky and the Abstract Cabinet in Hanover’, Umeni (Prague), vol. XLVII, 1999, PP. 512-520
  3. ‘Promoting Constructivism: Kinofot and Rodchenko's Move into Photography’, History of Photography,  Winter 2000, pp. 292-299.
  4. ‘Malevich, Suprematism and Aerial Photography’, History of Photography, Spring 2004, pp. 25-40.
  1. ‘Colour in Vladimir Tatlin’s Counter-Reliefs’, The Burlington Magazine, January 2008, pp. 28-34.
  2. ‘Sculpture at The Last Futurist Exhibition of Paintings 0. 10 (Zero Ten)’, Eksperiment/Experiment,  no. 18 (2012), pp. 159-188. 

Articles in Popular Journals

‘Avant-Garde Artists in Russia’,  Shotlandia Magazine, no. 3, l986, pp. 6-8.

‘Jewish Artists and the Russian Avant-Garde’, The Edinburgh Star,  no.20, February l995, pp. 14-17

Articles online

Naum Gabo and the Quandaries of the Replica’, Tate Papers, Autumn 2007, http://www.tate.org.uk/research/tateresearch/tatepapers/07autumn/lodder.htm

‘Naum Gabo as a Soviet Émigré in Berlin’, Tate Papers, Autumn 2010

‘Liubov Popova: From Painting to Textile Design’, Tate Papers, Autumn 2010

Trans. Nikolai Chuzhak, ‘Under the Banner of Life-Building (An Attempt to Understand the Art of Today)’, Art In Translation, Volume 1, Number 1, March 2009, pp. 119-151(33).

Forthcoming Publications
M. Hammer and C.Lodder, ‘Naum Gabo’, New Dictionary of National Biography (completed and submitted).

Malevich, London, Phaidon Press, 2012? (submitted 2002, still in press)

‘Made in Russia: Władisław Strzemiński and the Russian Avant-Garde’ Władisław Strzemiński (Lodz: Museum of Modern Art,  2012)  (submitted in press)

‘Chapter 52: Moscow’ History of Modernist Magazines, vo. 2  (Oxford: Oxford  University Press, 2012) (in press)

‘Chapter 54: St Petersburg’, History of Modernist Magazines, vol. 2  (Oxford: Oxford University Press, 2012) ( in press)

‘Transfiguring Reality: Suprematism and the Aerial View’ in Mark Dorrian, ed. The Aerial View, (English version in press)

‘Vladimir Tatlin and Kazimir Malevich: A Creative Dialogue’ in Tatlin neue Kunst für eine neue Welt (Basel: Tinguely Museum, 2013) (submitted and in press)

‘The Ghost in the Machine: Modernist Architecture under Stalin’ in Christina Lodder, Maria Kokkori and Maria Mileeva, eds., Creative Responses to Utopia in Russia 1917-1990 (Leiden and Boston: Brill, 2013).

Reviews
1.’The Avant-Garde in Russia l910-30:  New Perspectives’ in Journal of Russian Studies, no. 45, l982, p. 40.

2.’Kandinsky:  Complete Writings on Art, eds.,  K. Lindsay and P. Vergo’, in  The Burlington Magazine, November  l983, pp. 705-6.

3.’Ben Nicholson’ (exhibition review), in Architectural Design, vol. 53, no. 7/8 1983. p.40.

4. ‘John Milner, Vladimir Tatlin and the Russian Avant-Garde’, in Architectural Design, vol. 53, no 5/6, l983, p. 40.

5. ‘Shades of Constructivism’ (exhibition review), in  Art Monthly, July/August  l984, pp. 20-21.

6. ‘B.W. Kean,  All the Empty Palaces:  The Merchant Patrons of Modern Art in Pre-Revolutionary Russia’, in  Anglo Soviet Journal,  vol. 44, no. 3, l984, pp. 29-30

7. ‘Frank Whitford, The Bauhaus’, in  Craftwork, September, l984.

8. ‘Pioneers of Soviet Photography by Grigory Shudakov’, in Anglo-Soviet Journal, Autumn l984, pp. 60-62.

9. ‘Peter Drews,  ‘Die Slavische Avant-garde und der Western’ , in Scottish Slavonic Review, no. 4, Spring, l985, pp. 153-4.

10. ‘Soviet Ceramics and Textiles’, (exhibition review), in Art Monthly, April l985,    pp.9-10.

11. ‘Pavel Filonov:  A Hero and his Fate, J. Bowlt and N. Misler’, in The Burlington Magazine, October l985, p.726.

12. ‘Transactions of the Association of Russian-American Scholars in the U.S.A., vol., XV’, in Slavonic and East European Review, vol.64, l985, pp. 133-4.

13. ‘Evelyn Weiss,  Russische Avant-Garde’, in Slavonic and East Eurpean Review, vol. 65, no. 2, pp. 277-9.

14. ‘The Look of Russian Literature, by Janacek’, in  The Burlington Magazine, December, l986, pp. 908-9.

15. ‘Rodchenko:  The Complete Work by Khan Magomedov’,  Oxford Art Journal, vol. 10, no. 2, l987, pp. 111-113.

16. ‘M. Rueschmeyer, I. Golomstok, and J. Kennedy  Soviet Emigré Artists’, The Scottish Slavonic Review, no. 9, l987, pp.165-6.

17. ‘Rodchenko:  The Complete Work’, in Art in America, no.1, l988, pp. 25-9.

18. ‘Cambridge Mass. and Hannover:  El Lissitzky’, (exhibition and symposium review) The Burlington Magazine, February l988, pp. 163-4.

19. ‘Ciurlionis:  The Music of the Spheres’, in The Burlington Magazine, June  l983, p.478.

20. ‘Visions of Russia’ (review article of 4 books), The Slavonic and East European Review, vol. 66, no. 3, July l988, pp. 469-471.

21. ‘Washington D.C.:  Russian Art at the Hirshhorn’ (exhibition review) The Burlington Magazine, October l988, p. 798.

22. ‘Tradition and Revolution:  The Jewish Reniassance in Russian Avant-Garde Art’, (exhibition and catalogue review) The Burlington Magazine, October l988, p. 798.

23. ‘The Hungarian Avant-Garde’ (exhibition and catalogue review) The Burlington Magazine, January l989, p. 48.

24. ‘New Soviet Art:  some recent publications’ (reviewing seven new books) The Burlington Magazine, September l989, pp. 646-648.

25. ‘Kazimir Malevich’ (exhibition review) Art International (Paris), no. 8, l989, pp. 77-8

26. ‘Russian Samizdat  Art,  ed., C. Doria’ in Scottish Slavonic Review, no. 12/13,  l989, pp. 209-10.

27. Kazimir Malevich 1878-1935 (exhibition review) Scottish Slavonic Review, no. 12/13, l989, pp. 237-241.

28. 'Sergei Tretyakov - Brecht's Teacher, Birmingham 20-22 January l989’,  (symposium review)  Scottish Slavonic Review,  no. 12/13,  l989, pp.236-7.

29. ‘Düsseldorf and Paris:  Pavel Filonov:  (exhibition review) The Burlington Magazine, August l990, pp. 599-600.

30. ‘Lavrentiev,  Alexander, Varvara Stepanova:  A Constructivist Life’  in The Modern Language Review, vol. 12, no. 2, l990, pp. 391-2.

31. 'Pavel Filonov',  Scottish Slavonic Review, no. 14, Spring l990, pp. 235-6.

32. ‘Matthew Cullerne Brown, Contemporary Russian Art’, The Slavonic and East European Review, vol. 68, no. 4, l990, p. 757.

33. ‘Soviet Commercial Design of the Twenties, edited and designed by Mikhail Anikst’, in  Journal of Russian Studies, l990.

34. ‘El Lissitzky’ (exhibition and catalogue review), in  Art Monthly, February, l991, p.14.

35. ‘Kamensky, Aleksandr,  Chagall:  The Russian Years l907-1922’, in  The Slavonic and East European Review, vol.69, no. 1, l991, pp. 153-4.

36. ‘Railing, Patricia,  From Science of Art to Systems of Art:  On Russian Abstract Art and Language 1910-20 and Other Essays’ in  The Slavonic and East European Review, vol. 69, no. 1, l991, pp. 151-2.

37. ‘Yablonskaya, M.N.  Women Artists of Russia's New Age 1900-1935’, in  The Slavonic and East European Review, vol. 69, no. 2, l991, pp. 352-353.

38. ‘Russian Paintings and Drawings in the Ashmolean Museum by Larissa Salmina-Haskell’, in The Burlington Magazine, June l991, p. 396.

39. ‘Russian Art:  From Neoclassicism to the Avant-Garde:  Painting, Sculpture, Architecture.  By Dmitri V. Sarabianov’, (plus 6 other books) in  The Burlington Magazine, March l992, pp. 194-6.

40. ‘William Craft Brumfield, The Origins of Modernism in Russian Architecture’ in Scottish Slavonic Review, no 19, Autumn l992, pp.115-117.

41. ‘Rainer Crone and David Moos, Kazimir Malevich:  The Climax of Disclosure’, Slavonica,  no.21, Autumn l993, pp. 152-154.

42. ‘Baden-Baden and Moscow:  Tatlin’ (exhibition review) in The Burlington Magazine, January l994, pp.46-48.

43. ‘Mikhail Larionov and the Russian Avant-Garde.  By Anthony Parton’, The Burlington Magazine, July l994, p.466.

44. ‘Art and Literature under the Bolsheviks:  Volume 1:  The Crisis of Renewal 1917-1924; Volume 2:  Authority and Revolution.  By Brandon Taylor (plus 4 other books) in The Burlington Magazine, November l994, pp. 777-778.

45. ‘Watercolours by Kandinsky at the Guggenheim Museum:  A Selection from the Solomon R. Guggenheim Museum and the Hilla von Rebay Foundation’, in The Burlington Magazine, November l994, pp. 780-778.

46. ‘Lavin, Maud.  Cut with the Kitchen Knife:  the Weimar Photomontages of Hannah Höch’, The Slavonic and East European Review, vol. 72, no.4, l994, pp.734-5.

47. ‘Iwan Puni 1892-1956, (catalogue). Berlinische Galerie, Berlin’, Slavonica, vol. 22. no. 1, 1994-5, pp. 119-121.

48. ‘Paris : Goncharova and Larionov’ (exhibition review), The Burlington Magazine, September 1995 pp. 630-631

49. ‘Efimova, Alla and Manovich, Lev (eds) Tekstura: Russian Essays on Visual Culture’,  The Slavonic and East European Review, Winter 1995, pp. 144-146.

50. ‘Christine Burrus, with the collaboration of Agnès Carbonell, Art Collectors of Russia: The Private tresures revealed’, Slavonica, vol, 2, no. 2, 1995/6, pp. 120-121.

51. ‘Yuri Tsivian, Early Cinema in Russia and its Cultural Reception’, Europe-Asia Studies, vol. 48, no. 6, September 1996, pp. 1056-1057.

52. ‘Kazimir Malevich.   By Charlotte Douglas’, The Burlington Magazine, May 1998, p. 344.

53. ‘Sonia Delaunay:  The Life of an Artist.   By Stanley Barron in collaboration with Jacques Damase’, The Burlington Magazine, May 1998, p. 344.

54. ‘Arts and Crafts in Late Imperial Russia: Reviving the Kustar Art Industries 1870-1971. By Wendy R. Salmond’ The Burlington Magazine, June 1998, p.399

55. ‘Jakov Chernikov: Documenti i riproduzioni dall'archivo di Aleksei e Dimitri Chernikov. Edited by Carlo Olmo and Alessandro de Magistris’, The Burlington magazine August 1998, p. 572.

56. ‘New York; Rodchenko’, (exhibition review)  The Burlington Magazine, October 1998, pp.710-712.

57. ‘Iconography of Power: Soviet Political Posters under Lenin and Stalin by Victoria E. Bonnell. Slavic Review, vol. 57, no. 4, Winter 1998, pp. 922-923.

58. ‘Socialist Realist Painting. By Matthew Cullerne Bown’, The Burlington Magazine, July 1999, p.426.

59. ‘London: The Russian Avant-Garde’, (exhibition review) The Burlington Magazine July 1999, pp. 428-9.

60. ‘London, Venice and New York: Woman Artists in Revolutionary Russia, (exhibition review) The Burlington Magazine, February 2000, pp. 118-119.

61. ‘Stories for Little Comrades: Revolutionary Artists and The Making of Early Soviet Children’s Books. By Evgeny Steiner’, The Burlington Magazine, May 2001, p. 302.

62. ‘Exploring Color: Olga Rozanova and the Early Russian Avant-Garde. By Nina Gurianova’, The Burlington Magazine, July 2000, p. 454

63. ‘Futurism and Photography: At the Estorick Collection of Modern Italian Art’, History of Photography, Vo. 25, no. 3, Autumn 2001, pp. 309-310.

64. ‘For the Voice. Edited by Patricia Railing’, The Art Book, vol. 9, no. 1, January 2002, pp. 46-7

65. ‘Avant-Garde Page Design 1900-1950. By Jarolslav Andel’, The Burlington Magazine, June 2003, pp. 459-460.

66. ‘Kazimir Malevich: New York’, The Burlington Magazine, July 2003, pp. 541-543 (exhibition review)

67. ‘Circling the Square: London’, The Burlington Magazine, July 2005, pp. 418-419. (exhibition review)

68. ‘Russia!: New York’, The Burlington Magazine, January 2006, pp. 59-60. (exhibition review)

69. ‘Dream Factory Communism: The Visual Culture of the Stalin Perio, ed. Boris Groys and Max Hollein’,  Slavic Review, vol. 66,  no. 3, Fall 2007, pp. 571-573.

70. ‘The Avant-Garde Icon: Russian Avant-Garde Art & The Icon Painting Tradition. By Andrew Spira’, The Burlington Magazine, December 2009,  pp. 851-852.

71. ‘Chagall and the Artists of the Russian Jewish Theater. Edited by Susan Tumarking Goodman’, The Burlington Magazine, February 2010, pp. 113-114.

72. ‘Chagall: Love and Exile. By Jackie Wullschlager’, The Burlington Magazine, March 2010, pp. 190-191.

73. ‘Constructivism in Russia’ [Rodchenko-Popova: Defining Constructivism exhibition review], Print Quarterly, December 2010, p. 429.

74. ‘Harmonie und Synthese: Die russische Moderne zwischen universellem Anspruch und nationaler kultureller Identität. By Isabel Wunsche’, Slavic Review, vol. 70, no. 1 (Spring 2011), pp. 210-211

75. ‘Goncharova: The Art and Design of Natalia Goncharova. By Anthony Parton’, The Burlington Magazine, September 2011, pp. 610-611.

76. ‘Malevich: Painting the Absolute. By Andrei Nakov’, The Burlington Magazine, April 2012, pp. 281-282.

77. ‘Windows on the War: Soviet TASS Posters at Home and Abroad, 1941-1945, Edited by Pert Kort Zegers and Douglas W. Druick’, West 86th: A Journal of Decorative Arts, Design History and Material Culture, vol. 19, no. 02, Fall-Winter 2012, pp.328-330.

78. ‘Aleksandr Deineka [1899-1969] An Avant-Garde for the Proletariat. Fondacion Juan March, Madrids, 2011-2012, InCoRM Journal, vol. 3, Spring-Autumn 2012, pp. 62-64.

79. ‘Alexandra Exter Paints. By Patricia Railing’, InCoRM Journal, vol. 3, Spring-Autumn 2012. Pp. 67-68.

 

Conference Papers :

  1. January l981:  Oxford University, Conference on The Russian Revolution: ‘ Lenin's Plan of Monumental Propaganda’.
  2. May l981:  Smithsonian Institution, Washington, The Development of Soviet Culture:  ‘Artists as Bureaucrats’.
  3. May l982:  University of Wales, Conference on Russia in the l920s:  ‘How the Constructivists hoped to reconstruct Russia’.
  4. June l983:  Courtauld Institute, University of London, Conference on Cubism:   ‘Cubism and Constructivism’.
  5. November l985: Washington,  III World Congress for Soviet and East European Studies:  ‘The Commercial Tradition in Russian Art, l890-1917’.
  6. November, l988:   St.Andrews University,  The Eighteenth Scottish Slavonic Seminar: ‘Naum Gabo and the Russian Revolution’.
  7. January, l989:   University of Birmingham,  Tretyakov - Brecht's Teacher Conference, ‘Lissitzky's Set for Sergei Tretyakov's Play I Want a Child’.
  8. April, l989:   University of Wales at Gregynog,  NEP and Russian Culture: ‘The Storming of the Winter Palace’ and ‘NEP's Impact on Art.’
  9. September l989:  Lingotto, Turin, Arte Russa e Sovietica 1870-1930:  ‘Naum Gabo and Suprematism’.
  10. November l989:  Kunsthalle, Düsseldorf,  Vladimir Tatlin Symposium: ‘The Influence of Tatlin on Gabo’.
  11. June l990:   Museum of Modern Art, New York,  Russian Architecture l917-1930: ‘Zhivskul' ptarkh and the synthesis of the arts’
  12. July 1990:   Henry Art Gallery, University of Washington, Seattle, U.S.A.,  The Revolution and the Avant-Garde:  The Impact of Russian Constructivism in the 20th Century:  ‘Theory and Practice:  Constructivism and Productivism in the 1920s’
  13. July l990:  Harrogate,   IV World Congress for Soviet and East European Studies: ‘The Visual Language of Propaganda’
  14. November l992:  Pushkinskii Dom, St.Petersburg,  Aleksei Remizov Conference: attended as discussant about his artistic work and his Albums.
  15. December l992:   Musée Rodin, Paris, Colloque Antoine Pevsner:  ‘The Creative Relationship between Naum Gabo and Antoine Pevsner during the 1920s’, written and presented with Martin Hammer.
  16. November l993:  Botanical Gardens, Edinburgh,  Growth and Form,  Conference on D'Arcy Thompson:  ‘D'Arcy Thompson and Artistic Modernism’, written and presented with Martin Hammer:
  17. March l994:  Institute of Art History of the Czech Academy of Sciences, Prague, Colloquium Karel Teige and the European Avant-Garde:  ‘Radical Constructivism in the late 1920s:  Teige and Contemporary Artists and Theorists’, written and presented with Martin Hammer.
  18. October l994:  Tate Gallery, Liverpool:  Barbara Hepworth Conference:  ‘Hepworth and Gabo in London and St Ives’, written and presented with Martin Hammer.
  19. April 1995: St. Andrews University: Colloquium ‘Russian Avant-Garde Art and Literature’: ‘Zaum and Alogism - The Transrational in Russian Painting’.
  20. October 1995: Institut Iskusstvoznaniya, Moscow: Avangard 10kh i 20kh godov: Vsaimo iskusstv: ‘Sculpture and Architecture, A New Unity : Naum Gabo's Towers of the 1920s’.
  1. October 1995: University of Wales: Vsevolod Meyerhold: ‘Meyerhold and Constructivist  Theatrical Design’.
  2. March 1998:  Scottish Society for Art History in association with the Royal Scottish Academy:  Academies and Art Education:  ‘VKhUTEMAS:  Barometer of the Revolution’.
  3. December 1998: Getty Research Institute for the History of Art and the Humanities, Los Angeles; El Lissitzky: ‘Lissitzky and International Constructivism’
  4. May 1999: University of Dundee and Duncan of Jordanstone: Theoros Conference Visual Thinking and Working Practices:  ‘Gabo and Science’
  5. June 1999: Center for European and Russian Studies, University of California, Los Angeles and Los Angeles County Museum of Art: Exhibiting Central European Modernism: ‘Lissitzky's Abstract Cabinet for Hanover’
  6. December 1999, Hermatige Museum, St Petersburg: Twentieth Century Art.  Achievements, Traditions and Innovations: ‘Answering the Scientific Challenge: The Sculpture of Naum Gabo in the 1920s and 1930s’.  Also chaired session: National Versions in 20th Century Art
  7. April 2000, Edinburgh University. The Association of Art Historians Annual Conference: Body and Soul:  ‘Monuments for the Masses: Embodying the Collective’
  8. January 2001: Academy of Arts, Helsinki:  Flight and Artists: ‘Kazimir Malevich and Flight Beyond the Spiritual’
  1. February 2001, State Russian Museum, St Petersburg, Malevich and the Russian Avant-Garde: Personality and School: ‘Naum Gabo and Suprematism’
  2. June 2001, State Hermitage, St Petersburg, Vostok-Rossiya-Zapad: Mirovye Religii I Iskusstvo: ‘Malevich’s Suprematism: Reconciling the Spiritual and the Technological’.
  1. March 2002, Museum of Modern Art, New York: The Russian Avant-Garde Book 1910-1934: Symposium. ‘The Constructivist Book’
  2. April 2002, University of Glasgow: Hungarian Days: Hungarian Culture and Identity: ‘The Internationalist Ethos of the Hungarian Avant-garde: The Hungarian Contribution to International Constructivism’
  3. May 2002, University of California, Los Angeles and Los Angeles County Museum of Art: Evaluating Central European Avant-Gardes – Colloquium: ‘Interpreting International Constructivism’
  4. September 2002, Clarke Art Institute, Williamstown, Constructivismand the Delimitation of Context: ‘Transforming the Constructivist Paradigm: Berlin 1922’.
  5. November 2002, Courtauld Institute of Art, University of London, Sculpture in Architecture 1850 to Present: Martin Hammer and Christina Lodder ‘Site-Specific Modernism: Naum Gabo’s Public Sculpture Projects of the 1950s’
  6. March 2003, University of St Andrews, Gender Studies at St Andrews: ‘Revealing All: Radical and Feminist Perspectives in the work of Natalia Goncharova’
  7. June 2003, Insititute of Art History of the Czech Academy of Sciences, Prague, Local Straegies, Internaional Ambitions: Modern Art and Central Europe 1918-1968: ‘International Constructivism and Unovis: Lissitzky, Strzeminski and Kobro’
  1. March 2004, City University of New York, Rethinking Malevich, Opening Address
  1. March 2005, University of St Andrews, 1905 Russia in Revolution: ‘From Aesthetes to Revolutionaries: Artists’ Responses to 1905’.
  1. May 2006, International University of Bremen, Art and Metaphysics in the Twentieth Century and Beyond: ‘Living in Space: Kazimir Malevich’s Suprematist Architecture and the Philosophy of Nikolai Fedorov’
  1. June 2006, Courtauld Institute of Art, University of London, Born in Russia: ‘Cultural Identity in a Multi-cultural State: Naum Gabo and his Russian Background’
  1. July 2006, Victoria and Albert Museum, London, Modernism: ‘The Workers’ Clubs and constructing the new man’
  2. May 2007, University of Belarus, Minsk, Belarus, Avant-Garde: Culture, Environoment, Milieu: ‘Creating the New Man: Workers’ Clubs in the Soviet Union in the 1920s’.
  1. May 2007, University of St Andrews, Literature and Photography: New Perspectives: ‘Documenting the New Sovit Reality: Lef and Photography’.
  1. July 2007, University of St Andrews: Art and Power, ‘Keynote address: Complicity a Suitable Case for Treatment?’
  2. October 2007, Tate Modern, London: Inherent Vice: the Replica and its Implications in Modern Sculpture: ‘Naum Gabo and the Quandaries of the Replica’.
  1. November 2007, University of Thessaloniki, III Art Historians’ Conference: ‘Malevich, Suprematism and Architecture’
  1. November 2007, Moscow, State Institute of Art History, Russian Academy of Sciences, Moscow: Russian Constructivism: ‘Aleksei Gan and Russian Constructivism’ delivered in Russian as ‘Aleksei Gan i russkii Konstruktivizm’
  1. September 2008, Thessaloniki, State Museum of Contemporary Art – Costakis Collection, Russian Constructivism and the 20th Century Architectural Heritage: ‘The Architect as Painter: The Painter as Architect’.
  1. October 2008, The University of Edinburgh, The Aerial View:  Spatial Knowledges and Spatial Practices: ‘Transforming Reality: Suprematism and the Aerial View’.
  1. February 2009, University of Portsmouth, The Russian Jewish Diaspora and European Culture, 1917-1937 : ‘Ideology and Identity: El Lissitzky in Berlin’
  1. February 2009, The University of Nottingham, Windows on War, ‘Forging a Vision of Unity: Aesthetic Freedom and the War’
  2. March 2009, Tate Modern, London, Constructivism and the Art of Everyday Life: Liubov Popova: From Painting to Textile Design’.
  1. July 2009, Tate Britain, London, Naum Gabo Study Day: ‘Naum Gabo and his Archive’ with Martin Hammer
  1. August 2009, Jacobs University, Bremen, The Lives of Form: Abstract Art and Nature: ‘Man. Space and the Zero of Form: Kazimir Malevich’s Suprmatism and the Natural World’
  1. November 2009, Tate Britain, London, Émigré Artists and their Archives: ‘Naum Gabo in Berlin and the Russian Diaspora’
  1. 27 February 2010, Churchill College, Cambridge, Modernism and Utopia: ‘Transforming the World: Constructivism vs Suprematism and Gustav Klucis’s Dynamic City 1920’
  1. 22 October 2011, Pearce Institute Govan, Glasgow Kandinsky in Govan: ‘Wassily Kandinsky: Lifting the Spirit.’
  1. 27 November 2011, Courtauld Institute, London, Utopia II, ‘The Ghost in the Machine: The Modernist Utopia under Stalin’
  1. 27 September 2012, Museum Tinguely, Basel, Tatlin neue Kunst für eine neue Welt , ‘Vladimir Tatlin and Kazimir Malevich: A Creative Dialogue’
  1. January 2013, Henry Moore Institute, Leeds, Year 1913, ‘Victory over the Sun and Re-Defining Sculpture’.
  1. January 2013, University of Edinburgh, Word and Image, ‘Word and Image: Ivan Puni’s Flight of Forms’.
  1. May 2013, University of Edinburgh and National Galleries of Scotland, Modernist Magazines 1880-1940 Symposium, ‘From Reflection to Construction: Russia’s Modernist Magaines.’
  1. June 2013, Gallery of Russian Art and Design, London, ‘See USSR’: Introductory Seminar, ‘USSR in Construction: A Soviet Propaganda Magazine for Western Readers’
  2. January 2014, Stedelijk Museum, Amsterdam, Symposium: Aftermath and Afterlife of the Russian Avant-Garde, Keynote lecture: ‘An Avant-Garde Legacy: Reconstructing and Deconstructing Malevich’
  3. June 2014, Hermitage, St Petersburg, VI Mezhdunarodnyi Petrovskii Kongress “Rossiya ? Velikobritaniya: Pyat’ Vekov Kult’urnykh Svyazei” [VI International Peter the Great Congress. Russia-UK: Five centuries of Cultural Relations], ‘Naum Gabo: Bringing Russian Art and Constructivism to Britain’.
  4. July 2014, Pushkin House, London, Lazar Khidekel, Suprematism and the Russian Avant-Garde, ‘Kazimir Malevich and Lazar Khidekel as Architects’
  5. September 2014, Courtauld Institute London, ‘A Game in Hell’: The Great War in Russia: ‘A Painting Fit for Heroes: Kazimir Malevich’s Reservist of the First Division’.

Invited Public Lectures:

  1. February l982: ‘Mayakovskii and the Russian Avant-Garde’, Scottish Arts Council, Edinburgh.
  2. March l982:  ‘Russian Constructivism in the 1920s’, Queen's University, Belfast.
  3. May 1983:  ‘From Fine Art into Design:  Tatlin’,  Birkbeck College, University of London.
  4. June l983: ‘Mayakovskii as an artist’, School of Slavonic and East European Studies, University of London.
  5. December l983:  ‘The Making of Russian Constructivism’, Courtauld Institute, University of London.
  6. February 1984:  ‘Tatlin's Tower:  the Spiral and Utopia’, University of Birmingham.
  7. March l984: ‘The Costakis Collection’, University of Reading.
  8. March l984:  ‘Constructivism in Russia and Poland’, Kettle's Yard, University of Cambridge.
  9. April 1984: ‘Russian and Polish Visions of Utopia through the Constructivist Movements’, Riverside Studios, London.
  10. June 1984: ‘Tatlin and Cubism’, University of Glasgow.
  11. September l985: ‘Naum Gabo and the Architectural Environment’, Dallas Museum of Art, U.S.A.
  12. October l985: ‘The Birth of Constructivism’, Halifax School of Art, Nova Scotia, Canada.
  13. March l986: ‘Naum Gabo and the Constructive Approach’, Ruskin School, University of Oxford.
  14. March l986:  ‘Art and Revolution:  The Revolutionary Festivals’, University of Keele.
  15. April 1986:  ‘The Russian Avant-Garde and the Revolution’, 369 Gallery, Edinburgh.
  16. February l987: ‘Naum Gabo and Architecture’, Tate Gallery, London.
  17. November l987: ‘Visions of Utopia:  Russian Constructivism’, Exeter College, Exeter, Mass., U.S.A.
  18. February, l988: ‘Russian Women Artists: A Feminist Aesthetic?’, Haverford College, Pennsylvania, U.S.A.
  19. February l988:  ‘Naum Gabo and Russian Constructivism’, Bryn Mawr College, Bryn Mawr College, Bryn Mawr, Pennsylvania, U.S.A.
  20. March l988: ‘Naum Gabo and Russian Constructivism’, University of Indiana, Bloomington, Indiana, U.S.A.
  21. May, l988:  ‘Russian Constructivism:  A Revolutionary Aesthetic?’, Bates College, Maine U.S.A.
  22. May, l988:  ‘Art and the Russian Revolution’, University of Southern Maine, U.S.A.
  23. May l988:  ‘Naum Gabo and the Russian Avant-Garde’, Colby College, Maine, U.S.A.
  24. February, l989:  ‘Utopia and  Utility:  Soviet Architecture in the 1920s’, University of Edinburgh.
  25. February, l990:  ‘Rationalism and Constructivism’, University of Edinburgh.
  26. April, l991:  ‘Naum Gabo - a Constructivist?’, Amherst College, Massachusetts.
  27. April, l992:  ‘Constructivism Reassessed’.  Series of three lectures, Polytechnical University of Catalonia, Barcelona, Spain.
  28. August l993:  ‘Women Artists of the Russian Avant-Garde’, National Gallery, Edinburgh.
  29. November l993:  ‘Naum Gabo and Constructivism’, University of Bristol.
  30. February, l994:  ‘Jewish Artists and the Russian Avant-Garde’, Jewish Literary Society, Edinburgh.
  31. September l994:  ‘Aleksandr Rodchenko and the Workers's Club’, British Library, London.
  1. April 1995: ‘Naum Gabo and Science’ with Martin Hammer, Henry Moore Centre, Leeds.
  1. February 1999: ‘Organic Constructivism’, The Royal College of Art, London.
  1. September 1999; ‘The Russian Avant-Garde Paintings at the Scotish National Gallery of  Modern Art’, The British-Russia Centre, Edinburgh
  1. March 2001: ‘Lyubov Popova: An Exemplary Constructivist’ Amherst College, Massachusetts, USA
  1. February 2002: ‘Naum Gabo – A Jewish Artist?’ Jewish Literary Society, Edinburgh
  1. September 2002: ‘Constructivism through design’, Williams College, Williamstown, Massachusetts, USA
  1. October 2002: ‘Naum Gabo and the public environment’, Tate Gallery, St Ives, Cornwall.
  1. April 2004: ‘Reassessing Constructivism’, Academy of Arts, Copenhagen, Denmark
  1. November 2004: ‘Russian Design of the 1920s’, Hunterian Art Gallery, Glasgow University.
  1. October  2006: ‘Goncharova and Larionov’, Scottish National Gallery of Modern Art, Edinburgh.
  1. March 2007: ‘Malevich and the Dynamics of Space’, Department of History of Art, University of Edinburgh.
  1. May 2007: ‘The Idea of Constructivism: East and West’; British Embassy, Minsk, Belarus.
  1. June 2007: ‘Jawlensky and the Russian Tradition’, Scottish National Gallery of Modern Art, Edinburgh.
  1. June 2008:  Art and Architecture of Russia and the Baltic, series of 4 lectures for Swan Hellenic.
  2. September 2009: Art and Architecture of the Baltic, series of 4 lectures for Voyages of Discovery.
  1. October 2009: ‘Introducing Naum Gabo’, Tate Gallery, London
  1. November 2009: ‘The Dynamics of Space: Kazimir Malevich and Architecture’, Johns Hopkins Univeristy, Baltimore.
  1. January-February 2010: ‘The Russian Avant-Garde: From the Icon to the Black Square and Beyond’, series of seven lectures, National Galleries of Scotland, Edinburgh.
  1. May 2010: ‘Painting the Dream: The World of Socialist Realist Painting’, National Galleries of Scotland, Edinburgh.
  1. June 2010, Norway’s Art and Architecture, series of five lectures for Swan Hellenic.
  1. July 2010, ‘Russian Abstraction’,  National Galleries of Scotland, Edinburgh.
  1. September 2010, ‘Sergei Diaghilev and the Search for Beauty’, Art Pursuits, London.
  1. January 2011,  ‘Edvard Munch: Images of Angst and Anxiety’, National Galleries of Scotland, Edinburgh.
  1. February 2011, ‘Made in Russia: Władysław Strzemiński and the Russian Avant-Garde’, Museum Sztuki, Łodz, Poland. 
  1. March 2011, ‘The Scholarly Importance of  this Exhibition of  Gabo’s Models’, Tate Britain, London
  1. April 2011, ‘Bela Uitz’, Scottish National Gallery of Modern Art, Edinburgh
  1. May 2011, ‘Art and Architecture of the Baltic’,  Series of four lectures for Voyages of Discovery.
  1. June 2011, ‘Free Abstraction’, Scottish National Gallery of Modern Art, Edinburgh 
  1. November 2011, ‘Francis Cadell and the European Avant-Garde’, Scottish National Galleries, Edinburgh
  1. March 2012, ‘Defying Gravity: The Russian Avant-Garde and Space’, University of Bloomington, Bloomington, Indiana, USA.
  1. July 2012, ‘The Russian Avant-Garde: Visions and Dreams’, National Art Museum of China, Beijing.
  1. August 2012, ‘Wassily Kandinsky’s Kleine Welten’, Scottish National Galleries, Edinburgh
  1. September 2012, ‘Scandanavian Landscape Painting’, Scottish National Galleries, Edinburgh
  1. September 2012, ‘Kandinsky’s Symbolist Heritage’, Scottish National Galleries, Edinburgh.
  1. November 2012, ‘Responding to the Challenge of Modernity: Naum Gabo and Science’, Pushkin House, London
  1. January 2013, ‘Kazimir Malevich and the Journey into Space’, Univeristy of Birmingham

 

Membership of Societies

  • Elected Fellow of the Royal Society of Edinburgh
  • 1998  Elected Member of the Association Internationale des Critiques de l’Art
  • Elected Fellow of the Royal Society for the Encouragement of the Arts, London.
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Teaching

Christina taught the module Russian Painting from the Academy to the Avant-Garde - HA650 (spring term) in 2013-2014.

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Research Supervision

Christina would welcome enquiries about PhD supervision in the field of Russian modernism.

Research Supervised:

Buckner Dogbe, Ph.D., ‘The Influence of African Art on British Art 1910-1930’, awarded October l988, University of St Andrews. 

Charlotte Humphreys, Ph.D., ‘Cubo-Futurism in Russia, 1912-1922:  The Transformation of a Painterly Style’, awarded February l989, University of St Andrews. 

Jeremy Howard, Ph.D., ‘The Union of Youth’, awarded November 1990, University of St Andrews.

Marianne Gilchrist, Ph.D., ‘Images of the Petrine period in Russian Art’, awarded December l993, University of St Andrews. 

Alexsey Makhrov, Ph.D.  ‘Britain Architects Working in Russia’, awarded 1998, University of St Andrews.

Cheryl Kramer, Ph.D.  ‘Russian Neo-Primitivism’,awarded January 2000, University of St Andrews.

Corinne Durand, Ph.D. ‘Disseminating the Constructivist Idea’, awarded 2001, University of St Andrews.

Konstantin Akinsha, ‘Soviet Photomontage from the 1930s onwards’, awarded 2012, University of Edinburgh.

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Last Updated: 13/01/2017