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"The book presents a different history of the Russian avant-garde and its cultural encounters with the sciences. It is focusing on the entanglements of architects, filmmakers and philosophers with experimental psychologists and physiologists in the 1920s which are hardly known yet. Famous avant-garde artists like El Lissitzky, Vassily Kandinsky and Dziga Vertov helped propagate a movement in Russia - psychotechnics -, that was actually coming from Germany and America and can be characterized as "psychotechnical boom". At the end of the story told in this book, it becomes clear, that this boom has not finished until today. By analyzing concrete co-operations between artists and scientists and on the basis of not yet published archival material, this book challenges the notion of
socialist sciences. At the same time, it gives an entirely new picture of what was thought to be modern art and makes clear, that artistic experimentation had much more than a metaphorical meaning in the arts of the Russian 1920s. In 2007 the book was acknowledged with an award for interdisciplinary research by the Wilhelm-Ostwald-Society, Grossbothen. In 2011 the book received funding by the VolkswagenStiftung to be translated into English and Russian (the Russian edition was published by NLO books in 2019). The book got reviews in NZZ, NTM, Derive, Junge Welt, Sehepunkte"-- Provided by publisher.

The work makes it possible to clarify the concepts of which European theorists were known in Russia in the XVIIIth century. There was no consistent opportunity in Russia, which was just beginning the process of searching for priorities in the field of art, to master theoretical discoveries, as in Europe. Both Johann Winckelmann and Roger de Piel were recognized at the same time in Russia, ignoring the nuances separating these authors. For Russian culture, the fundamental meanings embedded in their works were equally new and equivalent. Russian culture of the 18th century is characterized by an enthusiastic attitude towards any text about art. The study of patterns for copying and interpretation is an important element in an artist's work, which directly depends on his theoretical enlightenment. It is especially indicative of the academic art of the 18th century, testifying not only to the aesthetic preferences of the artist, but also to his erudition. Identifying such sources has become an important part of the study

• Avtobiografii͡a / I͡Uriĭ Pimenov
• Ioemu ott͡su s li͡ubovʹi͡u / Tatʹi͡ana Pimenova
• Pisʹmo I͡Urii͡u Pimenovu / Irakliĭ Andronikov
• Uroki Pimenova / I͡Uliĭ Vecherskiĭ
• I͡Uriĭ Pimenov / Marii͡a Knebelʹ
• Alʹbom

• Автобиография / Юрий Пименов
• Иоему отцу с любовью / Татьяна Пименова
• Письмо Юрию Пименову / Ираклий Андроников
• Уроки Пименова / Юлий Вечерский
• Юрий Пименов / Мария Кнебель
• Альбом.

There is surprisingly little, and certainly nothing comprehensive, written about the contemporary Russian scene now. What appear in the West are mostly reports about so-called 'dissidents', not about what is happening in this vast culture, taken as a whole. Too often, these reports seem to be primarily inspired by a desire to demonstrate Western cultural and political superiority. The aim of Russian Art in the New Millennium is not to support any one cause, but to look at the situation as it now exists objectively and to give as wide and truthful a view as possible. Russian art during the period under review - the last two decades - has been evolving rapidly and in many directions. Hence there are sections on digital art, landscape paintings, graffiti, religious art and others. Furthermore, in addition to the continuing influence of the traditional centres for art - Moscow and St Petersburg - a number of provincial Russian cities have developed distinctive art worlds of their own. Russian Art in the New Millennium attempts to discover this terra incognita and to encompass this extremely various, but also intensely national art scene in Russia in one volume.
(source: Nielsen Book Data)

Eleven Russian artists visit Komi to interpret the local culture. During the summer, all of the artists, some of whom are related through kinship and familial ties with the Russian North, went on personal research trips around the region, exploring the culture of the North Russian Old Believers in the Ust-Tsilemsky region (in the works of Ustina Yakovleva (b. 1987) and Alexandra Sukhareva (b. 1983); the sad legacy of the GULAG system in Vorkuta (in the animism-inspired embroideries of Rodion Kitaev (b. 1984), documentary photographs by Timofey Parchikov (b. 1983) and an impressive total installation by Igor Samolet (b. 1984) interacting with museum objects); the traditional way of life of reindeer herders in the Izhma district; the National Park in Inta; the myths and legends of the Zyryans in the Ugorsky district; the sacred Mansi place of the endless Munpupuner plateau and the birthplace of the first Russian oil of Ukhta and the pristine nature of the republic, turning for advice to ethnographers, archaeologists and ritualists of the ancient peoples of the Mansi, Nenets, Komi

• Amerikanskai͡a odissei͡a russkikh khudozhnikov
• "Russkoe iskusstvo zakhvatilo vsi͡u stranu" : Amerikanskie otkliki na Vystavku russkogo iskusstva
• Alʹbom
• Prilozhenie
• Russkoe iskusstvo na Gudzone : ocherk o popechiteli͡akh, pokupateli͡akh i nʹi͡u-ĭorkskoĭ presse

The Russian Art Exhibition in New York (1924) was truly an adventurous and grandiose event: about one and a half thousand works by hundreds of artists went to other shores--overseas. The curators of the project--Sergey Vinogradov, Igor Grabar and Konstantin Somov--were counting on good sales in America: Europe was just recovering from the First World War, and Russia from revolutions and the Civil War. The exposition in the Grand Central Palace of Manhattan presented paintings by Kustodiev and Petrov-Vodkin, Nesterov and Vasnetsovs, Serov and Korovin, Mashkov and Konchalovsky, Larionov and Goncharova, graphics by Vereisky and Ostroumova-Lebedeva, sculpture by Golubkina and Konenkov, porcelain by Somov and Chekhonin. The reconstruction of this legendary show of Russian art, which traveled around 20 more cities in the USA and Canada after New York, is the subject of a special study by the Museum of Russian Impressionism. For the first time, works by leading Russian artists dispersed in museums and private collections around the world are presented under one cover, accompanied by articles by John E. Bowlt, Olga Yurkina and Edward Kasinec