1. Curatorial projects / exhibitions of artist ' s books :

The Avant - garde and the Traditions of Russian Prints . Saltykov-Shchedrin State Public Library, Leningrad , 1990 (catalogue) . Curators: Nikolai Shkolny and Gleb Yershov; catalogue designed by Mikhail Karasik.

Paper Theatre. The Experimental Artist's and Poet's Book. Anna Akhmatova Museum in the Fountain House, St Petersburg , 1992 (catalogue) .

Bookmania. Contemporary Experimental Book and Book-Object. Central Exhibition Hall. Manege, St Petersburg , 1994.

Paper Theater 2. The Artists' Book. Anna Akhmatova Museum in the Fountain House, St Petersburg , 1994 (catalogue).

Kharmsizdat Presents: Daniil Kharms and Contemporary Russian Artist's Book. Anna Akhmatova Museum in the Fountain House, St Petersburg , 1995 (catalogue) .

The Book Garden. Contemporary Russian Artists' Books. The John Rylands University Library, Manchester – Stormont Rooms, Rye . Touring exhibition; shown in Great Britain in 1995 – 1996 (catalogue). Curators: Peter Ford (Off-Centre Gallery, Bristol ) and Mikhail Karasik.

Paper Theatre 3. Bookcamera or The Book and The Elements. Anna Akhmatova Museum in the Fountain House, St Petersburg , 1997 / Museum der Arbeit. 2. Norddeutsche Handpressenmesse , Hamburg , 2001 (catalogues).

Contemporary Russian Artists' Books. Columbia College Chicago Center for Book & Paper Arts, Chicago, Illinois – Minnesota Center for the Book Arts, Minneapolis, Minnesota. Touring exhibition; shown in the USA in 1998 – 1999 (catalogue). Curators: Barbara Lazarus Metz ( Chicago Center for Book and Paper Art) and Mikhail Karasik.

The Artist and The Book in Russia 1910 - 1930 … Russian Artist's Book 1990 - 2000. ART Frankfurt, Frankfurt/Main, 2000 (catalogue) . Curators: Jost Braun (Globus-Galerie, Edition Lebensretter, 9. IAKH, Leipzig ) and Mikhail Karasik.

DEMOB ALBUM - Russian Art Brut. Anna Akhmatova Museum in the Fountain House, St Petersburg , 2001 (catalogue). Curators: Maria Korosteleva ( Anna Akhmatova Museum in the Fountain House), Pyotr Bely, and Mikhail Karasik.

The Latest History of Russian Artist's Book. 1995 - 2002. Anna Akhmatova Museum in the Fountain House, St Petersburg , 2002. Curators: Maria Korosteleva ( Anna Akhmatova Museum in the Fountain House) and Mikhail Karasik.

Books and Documents. Artist's Book. Book Object. Photograph. Special project at the 4 th non/fiction , International book fair for high-quality fiction and non-fiction. Central House of the Artist, Moscow , 2002.

Kharmsizdat Presents: Daniil Kharms – Petersburg Myths. Frankfurt Book Fair, Frankfurt/Main, 2003 (catalogue). Curators: Heinz Stefan & Wibke Bartkowiak (BuchDruckKunst e.V. Hamburg ) and Mikhail Karasik.

Kharmsizdat Presents: Russian Dada, OBERIU Box, Literary Constructivism, The Leningrad Literary Underground. The State Russian Museum . The Ludwig Museum in the State Russian Museum , St Petersburg , 2003 (catalogue).

Kharmsizdat and Contemporary Russian Artist's Book. The Saxon State and University Library Dresden, 2005 – 2006 (CD catalogue). Curator: Dr. Helgard Sauer (SLUB Dresden ) .

For the Voice! Russian Avant-Garde Book 1910 – 1934. Artist Book 1970 – 2005. Anna Akhmatova Museum in the Fountain House, St Petersburg , 2005 (catalogue).

2. M. K. Publishers, the personal publishing house of Mikhail Karasik, presents Russian artist's book at international book and art fairs:

Biennale du Livre d'Artiste en Limousin , St-Yrieix-la-Perche (France), 1995, 1997.
ABI. ArtistBook International : Cologne , 1996 – New York , 1997.
SAGA . FIAC Edition: Prints, Photographs, Drawings, Paris , 1998 – 1999.
Leipziger Buchmesse , Leipzig , 1997.
LAB. The London Artists Book Fair . London, 1998 – 1999.
KunstKÖLN , Cologne, 2000.
Norddeutsche Handpressenmesse , Hamburg, 2001.
The London Fine Press Fair , London , 2002.
non/fiction . International book fair for high-quality fiction and non-fiction, Moscow , 2002 .
ART Frankfurt . Frankfurt/Main, 1999 – 2002.
Oak Knoll Fest , New Castle , DE , 2002, 2004, 2005.
Oxford Fine Press Book Fair, Oxford , 2003, 2005.
Cologne Fine Art. Cologne, 2005.
Frankfurter Buchmesse. Frankfurt/Main, 1998 – 2006.
CODEX International Symposium and Book Fair, San Francisco, 2007
The London Artists Book Fair, ICA Institute of Contemporary Arts, London, 2007
ArtistBook International, Musee national d’Art Moderne, Centre Pompidou, Paris, 2007

3. Kharmsizdat Presents:

RUSSIAN DADA

OBERIU BOX

LITCONSTRUCTIVISM

THE LENINGRAD LITERARY UNDERGROUND

St Petersburg : Kharmsizdat, 2002 – 2003. Idea and design by Mikhail Karasik.
Four boxes: coloured lithograph on cardboard; 370 x 270 x 60;
each box consists eight artist's books.
A limited edition of 21 copies, numbered and signed by the artists.

Kharmsizdat, the publishing project of Mikhail Karasik, has existed for fifteen years.
Daniil Kharms had a magnetic pull in the Leningrad cultural environment of the late 1980s and early 1990s, becoming almost a cult name. For Leningrad/Petersburg, Kharms was a mythological figure, an “idol of the sources”, an inspirer of artists and poets. Kharms has became such a long-term project in the art of St Petersburg; the centre of attraction and the starting point of many artistic projects, extravagant gestures and actions. Although the Russian tradition of individual publishing houses founded by artists and poets is not all that rich, this history does contain many vivid and exciting chapters. There were the publishing houses of the Russian Cubo-Futurists – Mikhail Matiushin, Alexei Kruchenykh, Igor Terentiev and Ilya Zdanevich. Iliazd , the famous publishing project of Ilya Zdanevich, was the link between the Russian avant-garde and Dada in Paris . Iliazd is closest in spirit to Kharmsizdat .

Beginning life as Mikhail Karasik's personal art project, Kharmsizdat now brings together various artists, who have specially created their own books for the publishing house. The aim of the aesthetic programme of all the Kharmsizdat publications can be regarded as resurrecting the experience of the artists and poets of the Russian avant-garde and the art groups of the 1920s and, at the same time, implementing the achievements of Western artist's books. Kharmsizdat is currently the only project in Russia to unite artists, writers and critics working and reflecting on the artist's book and the development of modern graphic art in general.

Mikhail Karasik's Kharmsizdat Presents project presents works united under the common concept of “artist's books”. The artist's book is a unique combination of traditional book culture and modern art, hand-printed in highly select graphic techniques (etching, lithography, linocut, silkscreen print and photography) in a total run of only twenty-one copies. The general design of the packaging for the entire publication is based on one of the most commonplace and everyday objects of the Soviet period – a Gomeldrev matchbox. Increased in size to folio dimensions, the matchbox becomes both a relic of a past age and a Pop Art object similar to Andy Warhol's time capsules. The label/cover of every box is lithographed in the stylistics of the Russian avant-garde.

The books are divided into four thematic sets, each one addressing a particular aspect of Russian avant-garde literature. Each set consists of eight books. Three sets are dedicated to the avant-garde poetry of the 1920s and 1930s – the OBERIU group, literary Constructivism and what became known as the “Russian Dada”. The fourth is the Leningrad literary underground of the 1970s and 1980s. The entire project brings together the creations of more than twenty artists, investigating the modern understanding of the avant-garde and establishing new links with the traditions of the Futurist books of the 1910s.

Kharmsizdat Presents: Russian Dada, OBERIU Box, Literary Constructivism, The Leningrad Literary Underground.

St Petersburg : Kharmsizdat, 2002 – 2003. Idea and design by Mikhail Karasik.
Four boxes: coloured lithograph on cardboard; 370 x 270 x 60; each box consists eight artist's books. A limited edition of 21 copies, numbered and signed by the artists.

RUSSIAN DADA
Foreword by Pavel Gerasimenko.
Artist's books by Vladimir Igumnov, Mikhail Karasik, Grigory Kaznelson, Boris Khaimsky, Vladimir Kozin, Dmitry Pilikin, and Pyotr Shvetsov.

1. Canine Box or The Labours of the Creative Bureau of Nothingists

2. Rurick Rok. Farmazons

3. Mikhail Zenkevich. Ploughed Field of Tanks

4. Orest Tiesenhausen. Declaration of Form-Librism

5. Khabias-Komarova. Versettes

6. Tikhon Churilin. Let Us Enter It

7. Alexander Tufanov. Spring

8. Igor Terentiev. A Graphic Manual

OBERIU BOX
Foreword by Mikhail Karasik.
Artist's books by Victor Goppe, Mikhail Karasik, Boris Konstriktor, Yury Shtapakov, Pyotr Shvetsov, Yulia Zaretskaya, and Sergei Yakunin.

1. OBERIU Interrogation Record
(biographical informationon writers in the form of interrogation records)

2. Daniil Kharms. The Fate of the Professor's Wife

3. Konstantin Vaginov. Poems from The Goat's Song

 4. Alexander Vvedensky . Elegy

5. Nikolay Zabolotsky. Poems

 6. Igor Bakhterev. I Asked the Time

 7. Nikolay Oleinikov. A Short Declaration of Love

8. Leonid Lipavsky. Talk

LITERARY CONSTRUCTIVISM
Foreword by Boris Khaimsky.
Artist's books by Andrei Chezhin, Tatyana Igumnova, Mikhail Karasik, Victor Remishevsky, Eugene Strelkov, Vladimir Zagorov, and Sergei Yakunin.

1. Vladimir Lugovskoi. Four Poems

2. We Know. Sworn Construction of the Constructivist Poets:
Alexei Chicherin, Elly-Karl Selvinsky, Kornely Zelinsky

3. An. Chicherin. Knstruemas

4. Ilya Selvinsky. Yellow Owl Tavern

5. Ilya Selvinsky. Hook

6. Vera Inber . The Centipedes

7. Semen Kirsanov. Light Spartaciada

THE LENINGRAD LITERARY UNDERGROUND
Foreword by Stanislav Savitsky.
Artist's books by Andrei Chezhin, Valentin Gerasimenko, Boris Konstriktor, Boris Kudryakov, Vladimir Uflyand, Igor Lebedev, and Yulia Zaretskaya.

1. Leonid Aronzon. Empty Sonnet

2. Victor Krivulin. Verses

3. Oleg Grigoriev. Two Verses

4. Henri Volokhonsky. Three Sonnets and One Poem

5. Boris Konstriktor . Poems of the Last Century

6. Vladimir Uflyand . Divertissement

7. Yelena Schwartz. VERSES. From the artist's Vanishing Album serie

8. Boris Kudryakov . Daily Life . Flakes of Feelings of the Sevent10s

Collections:
Bayerische Staatsbibliothek, Munich , Germany [Literary Constructivism].
British Library, London , Great Britain .
Chapin Library, Williamstown , Massachusetts , USA .
Institute of Modern Russian Culture, University of Southern California , Los Angeles , California , USA .
Kohler Art Library, University of Wisconsin , Madison , Wisconsin , USA .
Library of the Getty Research Institute, Los Angeles , California , USA .
LS Collection. Albert Lemmens & Serge-Aljosia Stommels, Nijmegen , The Netherlands .
MoMA. The Museum of Modern Art Library. New York , NY , USA [OBERIU Box].
New York Public Library, New York , NY , USA .
Russian National Library, St Petersburg , Russia .
Sächsische Landesbibliothek. Staats- und Universitätsbibliothek Dresden, Germany.
Smith College , Northampton , Massachusetts , USA [Literary Constructivism].
Staatsbibliothek der Staatlichen Museen zu Berlin, Germany.
Stadt- und Universitätsbibliothek Köln; Slavisches Institut der Universität zu Köln, Cologne, Germany [OBERIU Box, The Leningrad Literary Underground].
The Center for Russian Culture at Amherst College , Amherst , Massachusetts , USA [Literary Constructivism].
The Lilly Library, Indiana University , Bloomington , Indiana , USA .
The Pushkin State Museum of Fine Arts, Moscow , Russia [OBERIU Box, Literary Constructivism].
The University of California Arts Library, Santa Barbara , California , USA .
The University of Iowa Art Library, Rare Books, Iowa City , Iowa , USA [Russian Dada].

Exhibitions, bibliography:
Kharmsizdat Presents: Russian Dada, OBERIU-Box, Literary Constructivism, The Leningrad Literary Underground. The State Russian Museum . The Ludwig Museum in the State Russian Museum . St Petersburg , 2003 (catalogue).
Kharmsizdat Presents: Daniil Kharms - Petersburg Myths. Frankfurt Book Fair. Frankfurt/Main, 2003 (catalogue).
The Artist Turns to the Book. Getty Research Institute Lecture Hall & Gallery, Los Angeles , California , 2005. http://www.getty.edu/art/exhibitions/artist_book/
For the Voice! Russian Avant-Garde Book 1910 – 1934. Artist's Book 1970 2005. Anna Akhmatova Museum in the Fountain House. St Petersburg , 2005 (catalogue).
Russian Book-Art 1904 – 2005. Europalia Festival. Bibliotheca Wittockiana. Brussel, 2005 – 2006 (catalogue).
Kharmsizdat and Contemporary Russian Artist's Book. Saxon State and University Library Dresden . Dresden , 2005 – 2006. http://fotothek.slub-dresden.de
OT'TISK Imprint #3 . The Artist's Book in Russia 1990 – 2005. Annual Almanac of Printed Graphic Art. St Petersburg : M.K. Publishers, 2005.

4. OT'TISK / Imprint. Almanac of Printed Graphic Art

OT'TISK/IMPRINT #1

St Petersburg: M.K. Publishers, 2001. 54 pages, b/w illustrations + 11 pages of original graphics, signed by the artists. In an edition of 150 hand-bound, numbered copies. In Russian and English. Cover of colored card with woodcut. Lithograph, etching, woodcut, linocut, photograph and computer graphic.

For three centuries, the history of Russian graphic art has been centred around St. Petersburg, arguably Russia's Mecca of printed graphics.

Prepared in St. Petersburg, Imprint is Russia's first ever specialist publication on printed graphic art, covering both traditional and innovative printing techniques. The advent of new technology and the return of Russian art to the international art scene have directly reflected on the oeuvres of artists, many of whom have turned to new materials and forms of visual art.

Conceived as a bibliophilic publication, Imprint is intended for museum keepers, art historians, collectors and the artists themselves. This circumstance has dictated the small size of the print-run - 150 hand-bound, numbered copies - the unusual format, the use of various types of paper, the original woodcut cover and the supplementary album section of signed prints. Imprint is published in two languages - Russian and English.

This particular edition addresses various aspects of printed graphic art, featuring materials on Russia's contemporary graphic exhibitions and biennales, exploring the different trends in graphic art, such as artist's books from the Futurists to the present, graphic art collectors of the past, the Aquilon art publishing house (1921-1924), graphic art projects associated with the names of Vera Yermolaeva and Alexei Kravchenko, monographic articles on Vera Matiukh and Lev Yudin, and a history of local printing studios over the past thirty years. Contributors to this Almanac include Moscow and St. Petersburg artists and art historians.

Contents:

Gleb Yershov. After Engraving. An Essay on Modern Graphic Art. The article reviews the current state of graphic art, focusing on some of the more typical, recurrent features of graphic art as a sovereign art form; defines the numerous niches occupied by graphic art today, including mass-circulation computer graphics and photography, which is treated as 'the ultimate graphic art that negates itself.'

Liudmila Vostretsova. Graphics? Graphic Art! (Remarks on the Novosibirsk Biennale). Inspired by the success of regular graphic exhibitions in Kaliningrad and Novosibirsk, the author delineates and studies the key trends in modern graphic art, asking herself, What is valued in graphic art today? and What is modern graphic art?

Yulia Demidenko. Rauschenberg Would Not Have Made It In Russia… (Art Printing Studios in St. Petersburg). The author takes us on an insightful voyage through the rarely discussed realm of 'art production,' discussing censors, 'art panels,' print runs, supplies and studio equipment. The author concludes that being a graphic artist in the Soviet Union was very different from being one in the West. The article is accompanied by a list of art printing studios having operated in Leningrad and then St. Petersburg over the past three decades, specifying their equipment and naming the artists who worked there.

Mikhail Karasik. Book, Object, Box… Despite a succession of high-profile exhibitions held in Russia and abroad over the past decade, artists' books have not yet found their rightful place in a Russian museum environment. The author attempts to define artists' books as an art form in its own right.

Yakaterina Bobrinskaya. Time in the Space of the Book. The author's subject-matter is Time entreasured within the space of an artist's book, from the lithographed books of the Futurists with their fascination with the 'process,' their emphasis on real-time creation, to Alexei Kruchyonykh's meticulously fragmented 'hectographics,' to the albums of Ilya Kabakov in which the viewing time, the length of the contemplative process, come to the forefront.

Irina Karasik. The Engravings of Lev Yudin. The article looks into a seemingly illogical creative evolution of Kazimir Malevich's disciple Lev Yudin as manifested in his engravings. Yudin's loyalty shift from Malevich to Mitrokhin, who became his idol in the 1930s, is still causing much speculation among researchers. The author attributes Yudin's sudden about-turn to his disenchantment with non-representational art, which was typical for quite a few artists in the 1920s, and his quest for his own 'way.'

Natalia Kozyreva. "I Have Never Feared Anything…" (The Oeuvre of Vera Matiukh). The article is devoted to the oeuvre of Vera Matiukh, one of St. Petersburg's oldest graphic artists who started out in the 1930s. Matiukh was one of the graphic art pioneers grouped around the Experimental Graphic Art Laboratory created in 1933. Her art remains highly relevant today.

Antonina Marochkina. Vera Yermolaeva and "Bloodless Murder". The article introduces us the to the "Bloodless Murder" ring formed in 1915 by a group of young artists, Yermolaeva, Le Dantu, Turova and Lapshin among them, and the eponymous magazine conceived along the lines of Futurists' hand-made publications. Yermolaeva's work for the magazine was her first experience in illustration. It was a solid school of painting that would later enable her to withstand the influences of Cubism and Suprematism.

Irina Zolotinkina. Aquilon. Characterizing an Art Publisher. The Aquilon publishing house operated in Petrograd in 1921-1923 as one of the last outposts of St. Petersburg's World of Art book culture. The article reviews the history and discusses the concept of Aquilon and its publications. It is accompanied by the author's full catalogue of books published by Aquilon.

Irina Zolotinkina. Alexander Chayanov and Alexei Kravchenko. Hoffmanniada in Moscow. The article looks back on a vibrant, inspired publishing project from the 1920s that brought together the famous Soviet graphic artist Alexei Kravchenko and an eminent economist and writer, Alexander Chayanov, the author of a book of fantasy tales in the spirit of Ernst T.A. Hoffmann. The project remained unfinished as Chayanov fell victim to Stalin's persecution of the intelligentsia.

Yulia Khodko. Folk Pictures in the Collection of Fyodor Pliushkin. The voluminous museum amassed by self-styled art collector Fyodor Pliushkin of Pskov numbered nearly a million exhibits, and was a subject of controversy for contemporaries. In 1914, the entire collection was purchased by the government. Some of Pliushkin's prints ended up in the Russian Museum. The article focuses on 'lubok' folk prints in Pliushkin's collection.

Olga Vlasova. Engravings from Foreign Collections in the Russian Museum. Having thoroughly studied the signatures on the engravings in the Russian Museum, the author traces the history of some eminent works back to when they belonged to major European museums and collectors, including the Louvres, Kupferstichkabinett der Staatlichen Museen zu Berlin, Kunsthalle Karlsruhe, Stadelsches Kunstinstitut Frankfurt am Main, and others.

OT'TISK/IMPRINT #2



St Petersburg: M.K. Publishers, 2003. 68 pages, b/w illustrations + 14 pages of original graphics (50 copies) or 5 pages of original graphics (100 copies). In an edition of 150 hand-bound, numbered copies. In Russian and English. Cover of colored card with linocut. Original graphics by St Petersburg artists: lithograph, etching, woodcut and photograph.

Contents:

Yuri Gerchouk. Graphics for Art's Sake? Yuri Gerchouk, a Moscow-based art critic and historian, reviews modern Russian exhibitions and contests in graphic art. To his mind, these are exhibits and events for a narrow circle of "insiders," or professionals. "Some new form of graphic art" may be in the pipeline.

Mikhail Karasik. Leningrad Engraving: Lessons of the Art Market. This is a story of a joint project once undertaken by the Leningrad-based artist Anatoly Kaplan and the English businessman and gallery owner Eric Estorick. Their partnership resulted in two albums Kaplan created for Estorique, Enchanted Tailor and Tevier the Milkman, and the first ever gallery exhibition of Soviet graphic art in the West, Lithographs by 27 Soviet Artists, which was held at London's Grosvenor Gallery in May 1961. The article written by T. Mullaly for the exhibition catalogue is appended to the issue.

Irina Zolotinkina. The Will to Create. The Story of Nikolai Brimmer. Nikolai Leonidovich Brimmer (1898-1929), an engraver well known in the 1920s, was a younger exponent of the Leningrad school of xylography. Brimmer edited the Wood Engraving almanac published in 1927 through 1930. The article explores the lesser known facts from the artist's biography. The issue features a few prints from Brimmer's original image-carriers.The illustrations were printed from original plates. Xylographs come from the private collection of Mikhail Karasik.

Ekaterina Klimova. Pyotr Shvetsov: Between Art and Technology. The article explores the oeuvre of St. Petersburg graphic artist Pyotr Shvetsov, who combines photocopying with techniques kindred to photolithography employed at the turn of the 20th century. The author looks at how old and new techniques interact in modern graphic art. Original lithographs are appended.

Natalia Kozyreva. Valentin Gerasimenko: Disintegration of Form. The article carries the main points of the author's report to a conference introducing the exhibition 20th Century Russian Abstractionism (The National Russian Museum, 2001-2002). The exhibition featured etchings by V. Gerasimenko, one of St. Petersburg's most important intaglio artists today. Original etchings are appended.

Alina Yartseva. Operation Wrap. Leningrad. Late 1920s. The article explores a new area of industrial design: candy wrappers from the mid- to late 1920s at the Engraving Section of the Russian National Library. The names of most designers are unknown, so the author focuses on what was expected of this kind of print product back in the 1920s.

Ekaterina Kroupnikova. Le papier. This article is about postal paper with small engraved or lithographed theme images, which was manufactured in Russia from the 1830s through the 1910s. Not infrequently, famous artists contributed to this quaint art medium, and well-known publishers published it.

Other contributions to the issue include: Maria Korosteleva on the oeuvre of Pyotr Bely (book graphics and wood engravings); Antonina Marochkina on the background of Vera Yermolaeva's illustrations for Reineke the Fox; Erast Kuznetsov on contrasting presentation of St. Petersburg's graphic art, and why St. Petersburg graphic art is unique; Serge Stommels and Albert Lemmens (The Netherlands) on Petropolis, an influential Russian-German publishing house in the 1920s, whose books are rare and highly valued today. They include albums and monographs on N. Altman, Y. Annenkov, M. Dobuzhinsky, B. Grigoriev, M. Chagal and others. A full Petropolis catalogue is appended.

OT'TISK/IMPRINT #3. The Artist's Book in Russia 1990 – 2005.

Annual Almanac of Printed Graphic Art. St Petersburg : M.K. Publishers, 2005.
Concept by Mikhail Karasik. Catalogue compiled by Marina Orlova.
In an edition of 150 hand-bound, numbered copies. In Russian and English ; English translation by Kenneth Maclnnes. 112 pages, b/w illustrations + 9 pages of original graphics, signed by the artists: illustrations from the books by Yulia Zaretskaya, Nikolai Klimushkin, Marina Spivak, and Dmitry Sayenko (linocuts); Yevgeny Strelkov, Andrei Sazdalev, and Gunel Juran (silkscreen printing); Yury Shtapakov (etching on plastic); Andrei Chezhin (photography) . Cover of coloured card with linocut by Yulia Zaretskaya .

The almanac is divided into three sections: art history – articles, main bibliography, list of exhibitions, artist's book projects etc.; catalogue – biographies of 40 artists, selected books (description and illustrations); illustrations – original prints and excerpts from publications;

CONTENTS:

 Mikhail Karasik . From the Publisher.
Gleb Ershov . The Avant-Garde and The Artist's Book.
Helgard Sauer . Artist's Books and Original Graphic Magazines in the Collection of the Saxon State and University Library Dresden.
Mikhail Karasik . Russian Artist's Books in Foreign Private Collections.
Gleb Ershov . Kharmsizdat in the Russian Museum .
Xenia Bezmenova . Artist's Book at the Pushkin Museum of Fine Arts.
Lyudmila Vostretsova . Toy Books for Children and Adults.
Tatyana Lebedeva . Book Artists and the Artist's Book at the Yaroslavl Museum of Art.
Inga Lander. The Collection of Artist's Book at the Russian National Library.
Exhibitions of Artist's Books 1990 – 2005.
CATALOGUE.
Bibliography.

5.Mikhail Karasik is the organiser and ideologue of the KHARMS-FESTIVALS of experimental art in St Petersburg:

http://www.kharms.artists-book.net

Kharms-Festival 1.
Kharmsizdat Presents: exhibition "Daniil Kharms and the Modern Russian Artist's Book” , with accompanying catalogue and anthology: “Kharmsizdat Presents: Investigations, Essay, Exhibition Catalogue”. Anna Akhmatova Museum at Fountain House, St Petersburg , 1995.

Kharms-Festival 2.
Kharmsizdat Presents: exhibition “ Soviet Eros” . Anna Akhmatova Museum at Fountain House, St Petersburg , 1996.

Kharms-Festival 3.
Kharmsizdat Presents: “Soviet Eros. 1920s-1930s” . Anna Akhmatova Museum at Fountain House, St Petersburg , 1997 (anthology).
Under Soviet rule eroticism was a taboo subject. The semi-naked body of Homo sovieticus could be seen only at military parades, festivals of physical exercise, during heroic feats at the work front, and at sanatoria and resorts. Under Stalin sensuality of any kind had to have a class or ideological character; its only use was as an instrument of education, and unifying factor, for both workers and the main unit of socialist society – the family. This collection includes material on sensual culture (Soviet eros) in the theatre, in garden and park art, and in book illustrations, film, and literature.  

Kharms-Festival 4.
Kharmsizdat Presents: “The Avant-Garde Behaviour. 1910s-1920s” . Anna Akhmatova Museum at Fountain House, St Petersburg , 1998 (anthology).
A collection compiled on the basis of material used at Kharms-Festival 4 (academic conference, St Petersburg , 1998). Includes a reprint edition of A. Kruchenikh's book of poetry LAKIROVANNOE TRIKO (“Varnished Tricot”, Tiflis , 1919), articles on the avant-garde behaviour of the Russian Futurists, and material on Daniil Kharms. This book represents the first attempt to study avant-garde behaviour as an independent form of art.

Kharms-Festival 5.
Kharmsizdat Presents:
Chudotvorets byl vysokogo rosta … Daniil Kharms Anniversary in the Russian Museum . Photo, Video, Object, Installation, Book. The State Russian Museum , The Ludwig Museum in the Russian Museum , St Petersburg , 2005 (catalogue).
Krugom vozmozhno Harms. St Petersburg Museum of History, Museum of Peterburg Avant-Garde Matyushin House , St Petersburg , 2005 (catalogue).
For the Voice! Russian Avant-Garde Book 1910 – 1934. Artist Book 1970 – 2005. Anna Akhmatova Museum in the Fountain House, St Petersburg , 2005 (catalogue).