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This study examines the artistic and critical activity of I. A. Puni, a Russian avant-garde master and organiser of futurist exhibitions in the framework of his first creative period, preceding emigration. The opportunity to look from a historical distance at the time of the emergence of Russian avant-garde from the inside makes the study relevant. The researchers focus on valuable information about the time, the worldview of a curator/artist/critic (I. A. Puni being all of them) and the "pain" points of art. The conclusions are based on the multidimensional textual material (critical articles, letters, lecture materials), which helps immerse in the context of artistic life in Petrograd and Vitebsk at the beginning of the century. Using structural and semiotic analysis, the authors draw parallels with I. A. Puni's painting and curatorial experience. Puni's focus is on the theoretical aspects of the new art that concerned him as an artist. His texts raise polemical questions about the importance of "material culture", the role of the artist, futurism, and curatorship. In an era dominated by production art and the principles of utilitarianism, Puni emphasises the value of the artist's individuality, their understanding of aesthetic tasks, and the intellectual content of the visual narrative. For Puni, the beauty of art lies in its uselessness for life: it is utilitarian production that influences art, not the other way around. Through coloured materiality, peculiarities of composition and form, the artist emphasises the essence and the inner construction of the depicted object. The study notes the special stylistics of Puni's texts, based on the neutrality of tone, reasoned judgments, which was not typical of theorists in the era of "poster language". The artist's curatorial activity, manifested by the landmark exhibitions "Tram B" and "0.10", gives an example of a "critic in action". The materials analysed show the complexity of the choice of objects capable of driving the narrative and the importance of one's own position in the aspect of the rivalry between K. S. Malevich and V. E. Tatlin.

This article examines the phenomenon of large-edition art production in the Soviet fine art of the early 1930s. The relevance and proliferation of reproduction and other printing formats were driven by the necessity to develop mass propaganda tools for extensive ideological influence on the viewer and mobilisation of society, including during the era of widespread industrialisation. The objective of this paper is to examine the artistic representation of the industrialisation of the Urals in Soviet posters, mass images, popular prints (lubok) and postcards from the early 1930s, with reference to the system of social commissions and the practice of industrial reproduction in art. This article is based on an analysis of documentary sources, materials of art criticism from the 1930s, and current research from the turn of the twenty-first century. The prerequisites and features of picture and poster art production are outlined in detail. An essential element of this study is the characterisation and analysis of images of the industrialisation of the Urals in poster, mass picture, popular print (lubok) and postcard. This includes the interpretation of individual subjects and an examination of the compositional structure of images. The features and specifics of social commission in the utilisation of industrial methods for the production and distribution of fine art are examined with reference to large-edition art works of the early 1930s and objects of original painting and graphics created for reproduction.