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The Soviet Art World Cuts Loose
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17089 |
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Section : |
THE ARTS
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| Issue
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12 / 1990 |
4,267 Words |
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Alice Thorson
Alice Thorson is an art critic and educator in Washington, D.C. |
Among the growing number of American business people braving Soviet bureaucratic red tape in the hope of fulfilling entrepreneurial drams, art dealers figure in some quantity. But unlike their counterparts in fiber optics and Kentucky Fried Chicken, the dealers are not particularly interested in selling their wares to the Soviets; rather they come to Moscow to buy what the Soviets have. At least since the Sotheby's auction in July 1988, Soviet art has been one of the hottest things on the American art market. The boom received another boost in May 1990, when Habsburg, Feldman (a Geneva-based auction house) held its New York sale of the KNIGA collection of contemporary Soviet art.
The KNIGA collection sale, shown Grisha Bruskin and Vadim Zakharov, capped a year of unprecedented influx of Soviet art and cultural artifacts to the United States. Where for most of the 1980s satirical works by the dissident team of Komar and Melamid and the Russian émigré Leonid Sokov represented Americans' only major points of contact with Soviet avant-garde sensibilities, a veritable firmament of Russian art stars has recently burst onto the international scene. In addition to Bruskin and Zakharov, a short list would include the nigh ubiquitous Ilya Kabakov, who during the past year has had one-person exhibits at the Ronald Feldman Gallery in New York, the Hirshhorn Museum and Sculpture Garden in Washington, D.C., and the Riverside Studios in London. Grim testimonials to realities of life under communism, Kabakov's environmental simulations of Moscow's depressing communal apartments and their inhabitants' struggle to maintain sanity make an indelible impression on Westerners. Another equally well-known elder statesman of "unofficial art," Eric Bulatov, was last fall given a major retrospective exhibit at the Renaissance Society at the University
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