Jamey Gambrell | New York Review of Books | 28th January 2016
In 1932 artists in Russia lost their freedom of expression. Henceforth, art was to be the servant of propaganda. However, what gave subsequent propaganda images their oomph were the conceptual advances of the earlier, more liberal period. “[I]t was in photography in its many guises that the perceptual innovations of the Russian avant-garde lived on the longest, to leave an indelible… legacy”. More images are here.