Art Of Inspiration Catalog

137

description

The key to the uniqueness of this group is in its composition. These are photographers and artists who live Russia, Russian artists living in the United States who, while having been assimilated into her culture, maintain cultural artistic ties to Russia, and also American artists, born and raised here. This cultural interplay allows for a wider dialog and cultural exchange and does not pass unnoticed by artistically interested people in both countries. The Russian resident members are selfless in their efforts at organizing the exhibitions there and acquainting the Russian audience with the work of contemporary American artists. It is interesting to note that these exhibitions take place not only in big cities, but also in provincial settings where they evoke a live response and gratitude from the viewers.

Transcript of Art Of Inspiration Catalog

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Shows Photograph – As though a postmodernist manifesto

“The whole world in a shoe” Russian-American “self-expression” in the Photocenter We were only recently informed that Americans are not enemies but friends. This exhibition, with such a distinctive name is comprised of works by photographers and painters who are unfamiliar to us. The American Vladimir Andreyev assembled these works. An art photographer who was born in the Smolensk province, Andreyev immigrated to the United States in 1991. He has exhibited his work in New York and Washington, and, in Russia near Smolensk and in Murmansk. He does not regret leaving. In Moscow, he is exhibiting for the third time, now with the work of friends and colleagues. “What is the unifying principle of the forty new names?” “In America, we call this the mainstream,” explains Andresen. “It is what is in demand, and is enjoyed. I simply gathered what appeals to me. This exhibition has already been in Murmansk, Surgut, and Smolensk. And, everywhere it goes, we attach new names. Next, we are going to Taldom, then Vorkuta…” Six new works have already arrived from Vorkuta. One of these, a picture by the theatrical designer Evgeniy Boldyrev in titled A Stroll to the Sea . A romantic landscape? No such thing! A buffoon with a crooked nose, and clad in a dunce cap, is seated on a humpbacked donkey. The buffoon is blowing bubbles. Behind him is a large, angry parrot, also wearing a dunce cap, and the sea only appears, briefly at the right side of the picture. Step to the left and you see the work of the Americans: Landscapes of impressive quality, the city, newly scrubbed in the morning, a waterfall, somewhere in the North American wilderness… And here is where we begin to understand how many different photographic expressions we have here-Postmodernist play with nature, a search for alternative meaning. This gives the work the aspect of unbalanced romanticism, or premeditated glamour. A longhaired saxophonist, photographed in a city alley at night is the subject of a picture made to look like an ancient photograph. Even the edges of the work are artfully worn. In another photomontage, the globe appears in a huge boot: The whole world is in your shoe! However, the hit among the Russian works: a huge photograph by Maxim Poluboyarinov entitled Mermaid - a nude female torso wearing panties made of red caviar. “Our task” says Vladimir Andreyev “is to promote new and talented artists. Recently, representatives of five new countries have joined us: Portugal, Sweden, France, Italy and Australia. A virtually fantastic idea is taking shape: From the 3d to the 17th of December, the exhibition, expanded by the addition of several new talents, will be shown in the hall of the Secretariat of the United Nations, where some four thousand people a day are projected to view it. Dmitriy Savosin

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"The flowers are not flowers in Vladimir's eyes. They are living and moving washes of color. Vladimir knows colour, he understands the perplexity of textures and composition. That is how beautiful the works of Vladimir are. Once you see the work it is impossible to forget the art - to forget the man." Cloude - Robert Policart ,

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To (Russian organization in NYC):

As the Public Relations Coordinator for Agora Gallery, 530 West 25th

Street in Chelsea, New

York, I would like to extend an invitation to you and your colleagues to attend our upcoming

exhibition featuring the leading Russian artist, Vladimir Andreyev.

Vladimir Andreyev’s fine art photography will be on display in Tripping the Light Fantastic from

March 22-April 11, reception party March 23 6-8 PM. (Reception and exhibition are free).

I know it is your mission to nurture Russian culture and I think this is a great opportunity to

express support for a brilliant Russian artist.

You can read about Mr. Andreyev and see his artwork here: http://www.agora-

gallery.com/artists/Vladimir_Andreyev.asp

I would appreciate it if you could post the exhibition announcement on your website, news board,

or other information listings, or if you can let me know who I should contact regarding this.

As time is of the essence, I would appreciate your reply as soon as possible. Thank you in

advance.

Libbie Snyder Agora Gallery

Public Relations Coordinator

530 West 25th Street, in Chelsea, New York

212-226-4151 ext. 207

www.Agora-Gallery.com

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Vladimir Andreyev’s Photographic Art

"Vladimir has a remarkable artistic sense of capturing the moment when the scene or

the subject is at its best…"

Richard Peterson

"Vladimir's Photos Capture Nature at unique and beautiful times... His position for his

art and his love for the World around him is strong."

Kristine Thomas

"Vladimir's heart is as big as the World which he captures through the lens of his

camera."

Allison Needham

" His photographic work has a style of its own. It takes an artist year to achieve an

original style to their work… Vladimir has the ability to transform common landscapes

into majestic canvases of color, shade and texture. He never resorts to gimmick and he

composes his shots carefully while keeping it all-simple. No doubt we will see continued

success for Vladimir as an Artist."

Gary Hanlon

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"The flowers are not flowers in Vladimir's eyes. They are living and moving washes of

color. Vladimir knows color; he understands the perplexity of textures and composition.

That is how beautiful the works of Vladimir are. Once you see the work it is impossible

to forget the art - to forget the man."

Cloud - Robert Policart

When you go to an exhibition of any kind, you expect to see something that will

excite your imagination, cause you to ponder, or, as they say ‘snag the soul’. Rarely,

however, do all three of these experiences converge. When people go to an exhibition of

photography, many conclude that good photography is possible to do for anybody.

Especially today, in the era of digital cameras. Indeed, the digital camera is the perfect

tool, not a brush in paint facing a primed canvas...just seizes the moment and press the

trigger in time. Moreover, the Photoshop computer program can be learned by anybody,

for the enhancement of each image.

But, what is most strange is that it doesn’t work that way. Two, three or ten people

can use the same camera at the same spot and each picture will be different. It turns out

that the essence here is not in the actual camera, nor in knowing how to use it,

technically, nor in proficiency in using computer image processing, although all of these

things are, ultimately, useful.

The critical factor is in how the person sees what he is photographing, how he feels

at that moment which stops time, how he relates to his subject. In short, it’s a matter of

talent. One can generate reams of paper in trying to explain how talent works. But none

of this, even with the participation of the artist himself, will draw us closer to

understanding this process. Talent is a gift from God - no less a mystery than life itself.

It would be as futile to ‘demonstrate harmony through algebra’ as it would be to try

to explain how this unusual, New York based photographic artist, Vladimir Andreyev

works, how he starts the creative process, how he develops the work, and how he brings

it to its conclusion. One small but important thing must be noted, however. This artist

practically never retouches his photographs, preferring to minimize or eliminate entirely

the intrusion of ‘Photoshop’ into his work. This tells us something about Andreyev’s

artistic method.

It would be more fruitful, I feel, to try to understand why his photographs, so

artless at first glance, make such a strong impact on everybody (without exception, mind

you!) who has had even the most fleeting of encounters with his work.

So, what do we see in Vladimir’s photographs, or more accurately, his canvasses?

First off, nature. America, Sweden, Italy, Russia…then, architecture, primarily in New

York. Then, again, flowers, trees, rivers, sky, clouds. Rarely do people appear in his

photographs, and seldom as the main subjects. This detail tells us a great deal about the

artist’s philosophy. For Andreyev, people are not, by any means, the center of the

universe, as they are for most of the rest of us. For Vladimir, man is but a small, not at all

extraordinary, component of the magnificent picture painted by the Creator. The artist’s

awe and reverence for this painting is virtually forced upon us, his viewers, through his

use of the camera. Even the photographic novice understands that Andreyev does not

wish to compete with God. He does not create ‘photobabble’, as do many of his New

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York contemporaries, looking for new shocks and effects. Similarly, he does not strive to

capture a ‘slice of life’, thus imposing some preconceived idea upon his audience. It

seems to me that, overall, Vladimir does not take his viewer into account, does not even

think about him when he creates his photographic masterpieces. Moreover, in my

opinion, there seems to be a total absence of thought in his work, paradoxical though that

may sound.

However, there lives in his work something that most artists today have lost -

passion! Powerful and inflammatory. Vladimir Andreyev’s pictures are permeated with

an almost incandescent eroticism. Because of this great radiance of energy, the works at

an exhibition require some three feet of space between them so that the viewer has, so to

speak, ‘rest space’ between the works so that he can fully address each new work as he

comes to it.

This passion, unclouded by intellectualism in art, in America at any rate, has been

forgotten to such an extent that it seems today to be something bright and new. In this lies

the discovery, the ‘eureka’ of Vladimir Andreyev. He returns art to its sources. He returns

man to his primordial, inspirational, worshipful, almost pagan perception of nature. In my

opinion, such a sensibility is confirmed in most of his photographs. The pictures taken in

New York show the beauty of architecture created by man, which pales by comparison to

that which is wrought by the hand of the Creator. His city landscapes are not as powerful

as those of nature. One exception only confirms the rule his astonishing ‘In the Church’,

where again, the main focus is not on the people, nor even the architecture, but the light.

Despite all of this, I would not say that Andreyev is a religious artist, in the

traditional sense. The energies with which he fills his work, earthy warm and palpable,

would not fit a color copy of nature were these works not filled with great amounts of air.

Call it what you will, the works of Andreyev are alive with great, real spaces. Perhaps we

can establish some relationship between Andreyev,s work and his ethnic origin. Great

open spaces, untouched by man are characteristic of the Russian landscape. It would

therefore be logical to conclude that, since he came to America as an adult, his outlook on

life and art was formed before he came here, and before he took up photography

professionally. However, it is not enough for Andreyev to simply feel space. He also has

a talent for organizing this space, and this refers to his choice of vantage. He has an

absolute sense of composition, a talent that is quite rare. I don’t know how he achieves

this, whether it is while taking the picture or during its development afterwards, but he

unfailingly determines the ‘golden mean’ of his image. That which the ancient Greeks

discovered and developed by arduous means, the placement of objects on a flat plane to

achieve the illusion of perfect harmony and balance, is given to Andreyev by right of

talent.

By the same right, he is so fluid in his handling of color that artifice in his work is

virtually invisible. What do I mean by this? Before the viewer has time to admire the

lines and colors, and the meaning of what is depicted, he is drawn into the depth of this

space bordered by four strips of wood. You feel this wonderfully when you experience

Andreyev’s ‘Rose’ series. I don’t feel that we need to thank the master’s education in

design at the Fashion Institute of Technology for the created effect. I tend to believe that

this ability to immediately grasp the viewer stems from Vladimir ‘s past as an actor, and

his artistic and musical education before he emigrated.

In Moscow, he was graduated from the Gnesin Academy, and, following this, the

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Institute of Culture. After this he spent twenty-five years on the stage in Russia as an

actor and director. In 1992, at the age of forty-five, he immigrated to America where he

was reeducated as a computer designer. Here he discovered in himself his gift for

photography.

Behind this man is a wealth of experience, not all of it positive. Where, therefore

does his virtual naiveté his almost childlike worldview comes from? How can such a

combination of experience and fresh wonderment coexist? “This is a great mystery…”

“For me, photography is the most unique, and at the same time the most accessible

means of expressing my relationship to the world. Of some 20,000 of my photographs, I

regard 150 of them as being of the highest quality,” - said Vladimir Andreyev in an

interview in the New York Weekly Russian Bazaar. This man drives himself relentlessly,

as do all great masters. Perhaps this is why every year his work becomes more popular in

the United States and in his native Russia.

Leonid Zonshain

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1 Vladimir Andreyev USA New York

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2 James Jahrsdorfer USA New York

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3 Mike Mastrogiakomo USA

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4 Andre Mastrogiakomo USA New York

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5 Gary Hanlon USA New York

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6 Joseph Biondi USA New York

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7 Radmila Radizhinskaya USA New York

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8 Oleg Georgievskiy USA New York

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9 Leonid Shishov USA New York

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10 Ilya Uzun Australia Sidney

11 Evgeniy Lukyanov USA New York

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12 Denis Shishov USA New York

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13 Irina Lyampe USA New York

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14 Alexandra Terentyeva USA New York

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15 Sofia Blank USA New York

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16 Igor Chernov Russia Smolensk

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17 Stanislav Kozhekin Russia Smolensk

18 Victor Tsurganov Russia Smolensk

19 Alexander Grigorchenkov Russia Smolensk

20 Stanislav Astahov Russia Smolensk

21 Maxim Poluboyarinov Russia Moscow

22 Alexey Nikishin Russia Moscow

23 Olga Drozdova Russia Taldom

24 Anatoly Chernov Russia Moscow

25 Sergey Romadchin Russia Moscow

26 Nikolay Zholnin Russia Murmansk

27 Oleg Bezruchko Russia Kirishi

28 Sergei Belov Russia Irkutsk, Angarsk

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29 Alexey Philippov Russia Kemerovo

30 Irina Gavrilova Russia Novokuznetsk

31 Evgeniy Boldyrev Russia Vorkuta

32 Olga Panych Russia Vorkuta

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33 Sergey Borisenko Russia Vorkuta

34 Sergey Garkushenko Russia Vorkuta

35 Roman Nekljudov Russia Vorkuta

36 Sergey Gagauzov Russia Vorkuta

37 Georgiy Korchenkin Russia Surgut

38 Alex Zaika Russia Surgut

39 Tatyana Severnaya Russia Surgut

40 Roman Krasikov Russia Sychevka

41 Andrey Krasikov Russia Sychevka

42 Igor and Olga Ulko Russia Krasnodar

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We have called our project “The Art of Inspirations”. The Director of this project, Vladimir Andreyev ( www.vladimirandreyev.com ), says that photographers and artists are often inspired by the most ordinary, or commonplace objects around them. We want, very much to understand how Russian artists respond to the ordinary things around them. At the same time, as a result of the exchange project, the exhibition of Vladimir Andreyev and friends will be shown in several cities in Russia. We want the Russians to see how we respond to life in New York, and in the rest of the United States. This project, in short, is an exchange of inspiration by ordinary things. The photographer Mark Norberg has said, “The picture is a way for me to put into images what is sometimes hard for me to put into words. It is a way to carry on a dialogue; to understand and be understood.” So it is with the exchange project. What cannot be expressed about New York (and indeed, all of America) in words can be projected visually through photographs. Similarly, their photographs transcend all linguistic and cultural differences, and allow us an unrestricted glimpse into what ordinary thing inspire the Russians and permits us to share their vision. Vladimir Andreyev has had several photographic exhibitions in Russia. The primary emphasis of this work has been the artist response to Brooklyn where he has lived for the last fifteen years. Since it is one of the main settling points for the recent Russian emigration to the United States, Brooklyn is well know in Russia and thus, the exhibits have generated a great deal of interest there. In order to select the participants in his exchange project, Vladimir Andreyev spent a great deal of time scouring the World Wide Web looking at the work of Russian artists posted there. His choices of participants (listed below) come from Murmansk, Lipetsk, Surgut, Smolensk, Tula, Vorkuta, Kirishi, Taldom, Krasnodar, Irkutsk, Angarsk, Kemerovo, Novokusnetsk, Vladiivostiok, Archangelsk, St. Petersburg and Moscow. The project will continue as a traveling show both in Russia and the United states, gathering work with each new showing. This process will go on for some two and a half years, until the show, which has been touring Russia, will return to the United States for a final exhibition. The exhibition traveling to Russia will, in addition to the work of Vladimir Andreyev include work by his friends: James Jahrsdoerfer Alexei Terentiev Evgeniy Lukyanov Michael Mastrogiacomo Andre Mastrogiacomo Oleg Georgiyevskiy Leonid Shishov Dennis Shishov

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Gary Hanlon Jennifer Santaniello Alexandra Terentieva Irina Lyampe Radmila Ladyzhinskaya Sofia Blank Ilya Uzun – Australia Olga Sednev – Australia Nikolay Orobey - Hungary The Russian exhibitors in the United States include: Murmansk - Nicholai Zholnin Surgut - Georgii Korchionkin Alex Zaika Tatiyna Severnaya Smolensk - Igor Chernov Stanislav Astahov Alexander Grigorchenkov Viktor Tsurganov Stanislav Kozhekin Archangelsk - Yurii Gnatiuk St. Petersburg – Anna Berkoz Moscow - Maxim Poluboyarinov Sergey Pomadchin Anatoliy Chernoff Alexey Nikishin Dmitriy Manuev Kemerovo – Irina Gavrilova Novokusnetsk – Alexey Filippov Vorkuta – Sergey Gagauzov Sergey Borisenko Sergey Garkushenko Roman Nekludov Evgeniy Boldyrev Olga Panych Taldom – Olgar Drozdova Irkutsk – Sergey Belov Kirishi – Oleg Bezruchko Krasnodar – Igor and Olga Ulko