New Brunswick, NJ – With such rapid advances in digital tools, we sometimes find ourselves lamenting about artists who were ahead of their time, guessing what Leonardo could have done with a jet engine or Warhol, with Instagram. Regarding Soviet nonconformist artist Leonid Lamm (1928–2017), however, we do not have to wonder. With a career spanning 70 years, technology caught up to his artistic vision and he became one of the most surprising and versatile artists in the history of Soviet nonconformist and contemporary Russian-American art. Nevermore: Leonid Lamm, Selected Works, on view through September 30 at the Zimmerli Art Museum at Rutgers, examines his prolific career, which was stimulated by a lifelong inquiry into the multidimensional energy of space. More than 60 works on view represent three key periods: his early decades in the Soviet Union, the period following his move to the United States in the 1980s, and his incorporation of digital formats in more recent years. Free, public events that spotlight the exhibition include an evening reception on March 9 and Art After Hours: First Tuesdays on June 5. Details are available at www.zimmerlimuseum.rutgers.edu.
Hot Art in a Cold War: Intersections of Art and Science in the Soviet Era
January 27, 2018 - May 20, 2018
Opening on January 27, 2018, the Bruce Museum’s provocative new exhibition Hot Art in a Cold War: Intersections of Art and Science in the Soviet Era examines one of the dominant concerns of Soviet unofficial artists—and citizens everywhere—during the Cold War: the consequences of innovation in science, technology, mathematics, communications, and design. Juxtaposing art made in opposition to state-sanctioned Socialist Realism with artifacts from the Soviet nuclear and space programs, Hot Art in a Cold War touches upon the triumphs and tragedies unleashed as humankind gained the power to both leave the Earth and to destroy it.
Produced from the 1960s to the 1980s, the works on view address themes of international significance during a turbulent period marked by the ever-escalating competition for nuclear supremacy and the space race. Creative interpretations of these key historical events and their repercussions are presented here through nearly 40 works by 17 artists from the former Soviet republics of Estonia, Latvia, Ukraine, and Russia.
A Vibrant Field: Nature and Landscape in Soviet Nonconformist Art, 1960s-1980s is the first exhibition at the Zimmerli Art Museum to explore the wide range of meanings that the natural world held for unofficial artists in the Soviet Union. Drawn from the strengths of the Dodge Collection, the exhibition brings together works produced in the period between thaw and perestroika that challenged the link between nature, optimism, and progress, which socialist realist aesthetics had promoted. Approximately fifty objects across media are featured, including painting, sculpture, works on paper, photography, and performance, by more than twenty-five artists and artist groups from the Soviet republics of Estonia, Latvia, Lithuania, Russia, and Ukraine. Despite the artists’ diverse backgrounds and creative approaches, together their works establish nature as a vibrant subject matter, push the boundaries of landscape as a genre, and limit the appropriation of landscape imagery in the name of socialist ideology. In turn, the status of nature in late socialism, and one’s individual or collective place within it, is explored as an open–and vital–question.
A Vibrant Field assembles varied perspectives, vantage points, and orientations that underlie how one experiences nature, both in the physical sense of navigating nature as a real environment and in the conceptual sense of coming to know, describe, represent, or assign it with symbolic value. The exhibition is mapped along three principle zones of inquiry. The first, Visions, draws together work that takes to task the process of visualizing spaces in nature in order to elucidate, reimagine, or critique how humans relate to or inhabit them. In this section, particular attention is paid to works that highlight ecological concerns resulting from the exploitation of natural resources and rapid pursuit of industrialization in the Soviet Union. In Reflections, artists place less emphasis on the material landscapes in nature than on how they become a picture and the role of artistic convention, memory, and ideology in mediating this process. Finally, Encounters considers the emergence of land art and performance-based practices in nature in the 1970s and 1980s that provided a freer alternative to urban communality, ritual, and public space in the Soviet Union. Through their direct encounters with the land, artists in this section approach nature not only as a subject matter or a backdrop to their work, but in some cases as an actor or co-producer.
Organized by Anna Rogulina, a Dodge-Lawrence Fellow at the Zimmerli and Ph.D. student in the Department of Art History at Rutgers
The exhibition and brochure are made possible by the Avenir Foundation Endowment Fund, The Thickman Family Foundation, and the Dodge Charitable Trust – Nancy Ruyle Dodge, Trustee.
Wednesday, March 29 / Tour, Film, and Reception 4:30pm: Tour of A Vibrant Field by the exhibition curator, Anna Rogulina 5:30pm: Screening of the 2015 award-winning documentary film Babushkas of Chernobyl.
Thursday, April 20 / Distinguished Lecture and Reception 4:30-6:30pm: Dr. Jane Costlow, Clark A. Griffith Professor of Environmental Studies at Bates College, Lewiston, Maine, explores the subject of nature imaginaries in Soviet literature and visual culture.