Samuel Johnson is the Carole & Alvin I. Schragis Faculty Fellow and assistant professor of art history at Syracuse University.

"Johnson's El Lissitzky on Paper delimits Lissitzky's activity mostly to paperwork. . . . Johnson opts for a poetic mode of narration. His book unfolds through a series of suggestive juxtapositions, presented diachronically. Each chapter offers a sequence of descriptive vignettes, arranged in such a way as to generate dialogue between them. For instance, Johnson's parallel discussion of Lissitzky's exhibition showrooms and typographic designs for printed media implicitly suggests that the artist's three-dimensional projects utilized the skills that were developed initially in his two-dimensional experiments. . . . A global artist in Stalin's isolationist times, he managed to remain both avant-garde architect and skillful propagandist, always proving his readiness to pivot."

• Note on Transliteration  Introduction  1. UNOVIS: Utopian or Scientific?Of 2 Squares: An UNOVIS PrimerContest of the Faculties: The Proletkult Purge and the Founding of VKhUTEMASProun: Toward a New Body  2. The International SetVeshch’ Objet Gegenstand and the Economic QuestionFrom Destruction to Demonstration: Prouns Space in CirculationSet/Reset: Orientation and the EverydayInstallation: The Room of Typo-Lithography  3. Still MovementsGhosts of Production: Old Novelties ReviewedImaginary Constructions: Film and the Unity to ComeIrrational Desires: Reckoning with Advertising  4. Typographical ArchitecturePlaying Against Type: The Wolkenbügel as Historical MonumentA Visiting Card for Moscow: Transit, Communication, and the Production of SpaceOrientation and the Mobile Viewer  5. Toward an Agitation-EnvironmentCompromise Formations: The All-Union Polygraphics ExhibitionArchaism as Renewal: Photo-paintingInternational Review: Pressa, Politics, and the End of NEP  6. The Image ComplexThe Ogonek Printing Works: A Structure in FluxThe Printer’s ViewConverting Currents: Dneprostroi in Pictures  Afterword  AcknowledgmentsNotesIllustration CreditsIndex

Samuel Johnson is the Carole & Alvin I. Schragis Faculty Fellow and assistant professor of art history at Syracuse University.

"Johnson's El Lissitzky on Paper delimits Lissitzky's activity mostly to paperwork. . . . Johnson opts for a poetic mode of narration. His book unfolds through a series of suggestive juxtapositions, presented diachronically. Each chapter offers a sequence of descriptive vignettes, arranged in such a way as to generate dialogue between them. For instance, Johnson's parallel discussion of Lissitzky's exhibition showrooms and typographic designs for printed media implicitly suggests that the artist's three-dimensional projects utilized the skills that were developed initially in his two-dimensional experiments. . . . A global artist in Stalin's isolationist times, he managed to remain both avant-garde architect and skillful propagandist, always proving his readiness to pivot."

• Note on Transliteration  Introduction  1. UNOVIS: Utopian or Scientific?Of 2 Squares: An UNOVIS PrimerContest of the Faculties: The Proletkult Purge and the Founding of VKhUTEMASProun: Toward a New Body  2. The International SetVeshch’ Objet Gegenstand and the Economic QuestionFrom Destruction to Demonstration: Prouns Space in CirculationSet/Reset: Orientation and the EverydayInstallation: The Room of Typo-Lithography  3. Still MovementsGhosts of Production: Old Novelties ReviewedImaginary Constructions: Film and the Unity to ComeIrrational Desires: Reckoning with Advertising  4. Typographical ArchitecturePlaying Against Type: The Wolkenbügel as Historical MonumentA Visiting Card for Moscow: Transit, Communication, and the Production of SpaceOrientation and the Mobile Viewer  5. Toward an Agitation-EnvironmentCompromise Formations: The All-Union Polygraphics ExhibitionArchaism as Renewal: Photo-paintingInternational Review: Pressa, Politics, and the End of NEP  6. The Image ComplexThe Ogonek Printing Works: A Structure in FluxThe Printer’s ViewConverting Currents: Dneprostroi in Pictures  Afterword  AcknowledgmentsNotesIllustration CreditsIndex

Samuel Johnson is the Carole & Alvin I. Schragis Faculty Fellow and assistant professor of art history at Syracuse University.

"Johnson's El Lissitzky on Paper delimits Lissitzky's activity mostly to paperwork. . . . Johnson opts for a poetic mode of narration. His book unfolds through a series of suggestive juxtapositions, presented diachronically. Each chapter offers a sequence of descriptive vignettes, arranged in such a way as to generate dialogue between them. For instance, Johnson's parallel discussion of Lissitzky's exhibition showrooms and typographic designs for printed media implicitly suggests that the artist's three-dimensional projects utilized the skills that were developed initially in his two-dimensional experiments. . . . A global artist in Stalin's isolationist times, he managed to remain both avant-garde architect and skillful propagandist, always proving his readiness to pivot."

• Note on Transliteration  Introduction  1. UNOVIS: Utopian or Scientific?Of 2 Squares: An UNOVIS PrimerContest of the Faculties: The Proletkult Purge and the Founding of VKhUTEMASProun: Toward a New Body  2. The International SetVeshch’ Objet Gegenstand and the Economic QuestionFrom Destruction to Demonstration: Prouns Space in CirculationSet/Reset: Orientation and the EverydayInstallation: The Room of Typo-Lithography  3. Still MovementsGhosts of Production: Old Novelties ReviewedImaginary Constructions: Film and the Unity to ComeIrrational Desires: Reckoning with Advertising  4. Typographical ArchitecturePlaying Against Type: The Wolkenbügel as Historical MonumentA Visiting Card for Moscow: Transit, Communication, and the Production of SpaceOrientation and the Mobile Viewer  5. Toward an Agitation-EnvironmentCompromise Formations: The All-Union Polygraphics ExhibitionArchaism as Renewal: Photo-paintingInternational Review: Pressa, Politics, and the End of NEP  6. The Image ComplexThe Ogonek Printing Works: A Structure in FluxThe Printer’s ViewConverting Currents: Dneprostroi in Pictures  Afterword  AcknowledgmentsNotesIllustration CreditsIndex