Zimmerli Art Museum extends exhibition dedicated to Ukraine's Post Soviet era art revival
The First Art Newspaper on the Net    Established in 1996 Saturday, November 2, 2024


Zimmerli Art Museum extends exhibition dedicated to Ukraine's Post Soviet era art revival
Arsen Savadov and Georgii Senchenko, Gardens Old and New, 1986-1987. Oil on canvas. Norton and Nancy Dodge Collection of Nonconformist Art from the Soviet Union. Zimmerli Art Museum at Rutgers. Photo Peter Jacobs.



NEW BRUNSWICK, NJ .- With heightened interest in Ukraine, the Zimmerli Art Museum at Rutgers University-New Brunswick has extended Painting in Excess: Kyiv’s Art Revival, 1985–1993 through April 10, 2022. The exhibition creates a visual context of Ukraine’s history of self-determination and resilience, exploring the inventive new art styles by Ukrainian artists responding to a trying transitional period of perestroika (restructuring) during the collapse of the Soviet Union. The exhibition highlights an efflorescence of styles, rediscovered histories, and newly found freedoms that blossomed against economic scarcity and ecological calamity as the country reasserted its identity in the 1980s and 1990s.

“This exhibition captures and celebrates a moment of remarkable transformation in the art scene in late-Soviet Kyiv,” said guest curator Olena Martynyuk, who was born in Ukraine and holds a holds a master’s degree in cultural studies from the National University of Kyiv-Mohyla Academy (Kyiv, Ukraine) and a doctoral degree in art history from Rutgers. “With the lingering devastation of the 1986 Chernobyl nuclear catastrophe and imminent collapse of the Soviet Union, Kyiv was undergoing radical changes. Emerging Ukrainian art became a powerful agent in this transformation of the city from the provincial center of the Ukrainian Soviet Republic into a cultural capital.”

Excessive in its expressive manner and color, Kyivan painting of the late 1980s and early 1990s produced a new quality in art, no longer defined by the dichotomy of official and unofficial art during the Soviet era (1922-1991). Simultaneously, Ukrainian artists discovered chapters of local history that had been suppressed or deleted, as well as their decades-long exclusion from the global library of art. Thus, allusions to antique ruins and other spoils of Western culture abound in Ukrainian painting. The museum is pleased to showcase perhaps the most well-known work of this time, Georgii Senchenko’s wall-sized Sacred Landscape of Peter Bruegel (1988), an oil rendering of Bruegel’s ink drawing The Beekeepers and the Birdnester (1568). Restored for this exhibition, it had not been shown since the 1988 Moscow Youth exhibition, which for the first time presented the new Ukrainian art as a coherent stylistic and intellectual phenomenon.




A section of the exhibition focuses on the Painterly Preserve, a collective founded in 1992. Members of the group were preoccupied with the history of the forbidden Ukrainian avant-garde of the early 20th century – an unfinished venture – and gravitated toward abstraction. Their formal explorations were often a gradual disassociation from storytelling and subject matter in painting. Midnight (1981) and Guest (1982), two oil paintings by Tiberiy Silvashi, the unofficial leader of the group, demonstrate the prevalence of the materiality of color that would soon overcome his rudimentary storytelling, transitioning into pure abstraction.

The exhibition also provides historical context with a selection of works by artists who were active in Kyiv during the 1960s and 1970s. They experienced various degrees of recognition – and persecution – anticipating many subjects and themes that became relevant for the generation that emerged in the 1980s. Some artists, including Alla Horska and Opanas Zalyvakha, explored the previously forbidden avant-garde tradition and spoke openly about Communist injustices. Others were identified as dissident threats and were expelled from jobs or imprisoned, and their art was destroyed. Some, including Oleksandr Dubovyk, were deprived of state commissions and positions of power. Artists such as Valery Lamakh and Hryhorii Havrylenko practiced art entirely outside the system, in their private apartments without the public or institutional resources.

Painting in Excess also represents the culmination of an important international collaboration that brings together more than 60 works of art, most of which have never been exhibited in the United States. A selection of paintings and works on paper is drawn primarily from the Zimmerli’s Norton and Nancy Dodge Collection of Nonconformist Art from the Soviet Union, supplemented by loans from the Abramovych Foundation, and a group of Ukrainian art collectors, facilitated by support from Tymofieyev Foundation. In addition, this is a rare opportunity to exhibit these 33 artists together, many of whom are the most well-known of their generation in Ukraine: Oleksandr Babak, Oleksander Hnylytskyj, Oleg Holosiy, Anatoly Kryvolap, Mykola Matsenko, Kostiantyn Reunov, Oleksandr Roitburd, Arsen Savadov, Marina Skugareva, Oleg Tistol, and Aleksander Zhyvotkov.

The exhibition is organized by guest curator Olena Martynyuk, Ph.D. with assistance from Julia Tulovsky, Ph.D., the Zimmerli’s curator of Russian and Soviet Nonconformist Art. Painting in Excess: Kyiv’s Art Revival, 1985-1993 is accompanied by a catalogue of the same title, co-published with Rutgers University Press. Recordings of past related events, including Music in Excess: A Concert of Ukrainian Avant-Garde Music and Roundtable on Painting in Excess, are posted on the Zimmerli’s YouTube channel go.rutgers.edu/ZimmerliOnYT.

Painting in Excess is the second exhibition focusing on Ukrainian art within the Dodge Collection. “These artists were very important to the late Norton Dodge, who spent more than three decades acquiring artwork from the former Soviet Union,” Tulovsky stated. “He was very eager to showcase collection’s vast number of works by Ukrainian artists, as they have not been widely represented in other exhibitions of art from the Soviet era.”










Today's News

March 19, 2022

Exhbition at Royal Academy of Arts draws from the collection of Israel Goldman

Bonhams announces acquisition of US auction house Skinner

Andrew Clemens sand bottle, tall case cocks, & glassware soar past estimates

Doyle to present two auctions of Asian art during Asia Week New York

Executive Director Charles A. Guerin to retire from Biggs Museum of American Art

Christie's to offer meteorites from the collection of Michael Farmer

Sound Botánica opens with new commissions, healing sound baths and over 30 works by Guadalupe Maravilla

Spring 2022 exhibition takes an unparalleled look at a Magritte masterpiece from The Israel Museum collection

San Francisco Ballet appoints Danielle St.Germain-Gordon Executive Director

Lyon Biennale unveils the visual identity of its 16th edition "manifesto of fragility"

'Texas Chain Saw Massacre' and the lessons few horror films get right

Peter Bowles, actor in 'To the Manor Born,' dies at 85

Zimmerli Art Museum extends exhibition dedicated to Ukraine's Post Soviet era art revival

Stylecraft and the NGV announce Ashley Eriksmoen as the winner of the 2022 Australian Furniture Design Award

Bruneau & Co.'s online-only Estate Fine Art & Antiques Auction

Museum of the City of New York unveils new immersive installation "Raise Your Voice" by Amanda Phingbodhipakkiya

Driehaus Museum acquires 80 prints from PAN, essential journal of the Avant-Garde

Neue Auctions announces English & Chinese Export Art & Antiques Auction

Colby Museum photography exhibit highlights rare and unpublished works by leading artists

John Dilg now represented by Galerie Eva Presenhuber

How to Start a Sports Betting Company

Does Home Insurance Cover Paintings, Artwork, and Sculptures?

What Every Online Business Should Know About Labor Attorneys

Photo Booth Rental: The Fun and Easy Way to Make Any Event Memorable

Making Art Work When Working A Hybrid Pattern




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez
Writer: Ofelia Zurbia Betancourt

Attorneys
Truck Accident Attorneys
Accident Attorneys
Holistic Dentist
Abogado de accidentes
สล็อต
สล็อตเว็บตรง

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful