It was primarily a logistics solution. For political and practical reasons, there are now more opportunities for acquiring and studying Soviet art from Kazakhstan than from other former Central Asian republics.
The art of Central Asia acquired national identification only in the twentieth century, as a result of Russian, and then Soviet, colonization, and the emergence of the nation-states. This was all before peoples of the steppe were identified through their ties with various linguistic groups, local administrative centers, and hereditary affiliation. That is, the generation of Kazakh and Uzbek artists of the sixties and seventies combined their work for official structures with those for free creativity, which challenged the canonical dogmas of Soviet ideology.
As they pursued clearly classic forms, the connection with their native culture and land remained, giving their work a unique aspect of oriental flavor. Salikhitdin Aitbaev, a very powerful and bright artist, who also boldly and interestingly experimented with form and color, did not get into the collection.
But the collection includes the now almost forgotten name of Boris Chuvylko, an artist who specialized in book graphics and monumental art. He was born in Tashkent, but lived and worked in Alma-Ata. In the collection of Norton Dodge, great attention is paid to such epoch-making masters from Kazakhstan, such as Sergey Kalmykov, Pavel Zaltsman, Evgeny Sidorkin, who were the successors of the Russian avant-garde and the powerful academic school, who, by the will of fate, linked their life and work with Kazakhstan.
If Kalmykov created the aesthetics of fantastic images and was a lone genius who had nothing to do with Soviet reality, then Sidorkin, on the contrary, updated the classics. Nevertheless, in the process of colonization and after, assimilation moved in both directions. To understand the origins of the unofficial line in official Soviet Central Asian art, Sharp draws attention to what literature and visual information was available at that time to the artists of the sixties and seventies.
This has been described as the beginning of the end of the cultural thaw in the Soviet Union. They mostly lived and worked in Tashkent and Moscow; it is clear that they identify with both cultures. Petersburg to Samarkand, Tashkent, Bukhara, Almaty were motivated by the desire to experience the exotic cultures of the region.
By the first decade of the twentieth century, a tradition of oriental studies had developed in Russia. Khalfin, S. Maslov, Shai-Ziya, G. Tryakin-Bukharova, E. It was a landmark exhibition that marked the transition to another post-Soviet era. Many names that this exhibition had discovered ended up in the Dodge collection. The collection is sometimes criticized for this, but he managed to preserve so much of the unofficial culture of the postwar Soviet Union. If you are looking into conceptualism or Sots Art, the best works are in this collection, and if you are studying, say, hyperrealism, you might also discover something important.
There is also a wide geographical spread. I started discussing this with Dodge very early on, as soon as we began cataloguing the collection in the mids. I convinced him to try to add documents to his collection of art.
He supported the idea and the first person I met about that was Igor Shelkovsky, the editor of A-Ya, which was a journal devoted to Soviet nonconformist art. I believed it was very important to get his archive, as Igor made sure the journal wrote about some of the key artists of the time.
And Norton bought the archive. Then we got a collection of documents from St. I was in touch with Sergei Kovalsky, one of the founders of the art center Pushkinskaya 10, and we discussed the transfer of the archive of the Association for Experimental Fine Arts. Later Dodge bought more archives using his connections in the art world. I always wanted the Zimmerli to collect as much research material as possible-that was my main priority.
At the moment access to those materials is limited. It would be great if they became accessible to the public. Alla Rosenfeld is an art historian, curator and teacher. She received her degree in the theory and history of art at the Repin Institute of Painting, Sculpture and Architecture in Leningrad, Russia, in , and her Ph. From to , Dr. Rosenfeld taught various courses on Russian art and culture at Rutgers University. Volume I
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