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Showing 61–70 of 80 results
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Tatiana Antoshina
£1,666.67Yuri Gagarin, Belka and Strelka dogs in Space. 2016. Sculpture: plaster, acrylic 40x60x10 cm. Edition of 5. Tatiana Antoshina, b.1956 is a Russian multimedia artist whose work has been exhibited at the Venice Biennale (56th Venice Biennale, State Pavilion of Mauritius, 2015), Moscow Biennale and the Asian Art Biennale. Antoshina’s work has also been the subject of numerous solo shows in Russia and beyond, including ‘Museum of a Woman’ held at White Space Gallery in 2004. This sculpture is currently displayed in Women at Work: Subverting the Feminine in Post-Soviet Russia
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Timur Novikov
£1,333.33Lost Ideals of Happy Childhood. 2000. Set of 16 lithographs in brown ink on cream paper. Edition of 75. Timur Novikov founded and led the ‘New Academicians’ movement that dominated the St Petersburg art scene in the 1990s. In his series ‘Lost Ideals of Happy Childhood’, from which this print comes, Socialist Realist statuary idealising Soviet childhood is ironically framed with baroque and neo-classical ornament from Russia’s imperial past. These prints are in the collection of Victoria and Albert Museum in London, Prints & Drawings Study Room
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Timur Novikov
£750.00The Swan Song of German Romanticism. 1994. Series of 9 sheets. Rhizogram. 29,5 x 41,5. Edition of 100. Timur Novikov founded and led the ‘New Academicians‘ movement that dominated the St Petersburg art scene in the 1990s. In his series ‘The Swan Song of German Romanticism’ from which these prints come, Novikov depicts buildings by Albert Speer. Speer became Hitler’s chief architect for the Third Reich after the Nazi’s gained power in January 1933. Speer held this position until the collapse of Nazi Germany. Novikov produced these prints in Berlin in 1994 during his artist’s residency. He was forbidden to exhibit the work due to political correctness issues in Germany at that time.
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Timur Novikov & Joseph Brodsky. Horizons
£10.00Horizons features unpublished dialogue between leading figure of the St Petersburg underground art scene,
Timur Novikov, and eminent Russian poet and Nobel Prize winner, Joseph Brodsky. Their meeting in Amsterdam in 1993 (on the occasion of Novikov’s retrospective exhibition at the Stedelijk Museum) resulted in a fascinating and erudite exchange, reflecting a reciprocal network of cultural and autobiographical references to St Petersburg as a city “on the edge” – an intersection where Western and Eastern cultural traditions met. The book pairs poems by Joseph Brodsky with textiles and silkscreens by Timur Novikov. Edited by Dominik Czechowski, curator of the Horizons exhibition. -
Timur Novikov. Christmas Tree. 2000
£1,000.00Timur Novikov founded and led the ‘New Academicians’ movement which dominated the St Petersburg art scene in the 1990s. In the series ‘Horizons‘, from which this print is taken, he revisits the Russian folk motifs in the style of his earlier textile pieces in which he placed small iconic symbols in large fields of flat colour
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Timur Novikov. Deer. 2000
£1,000.00Timur Novikov founded and led the ‘New Academicians’ movement which dominated the St Petersburg art scene in the 1990s. In the series ‘Horizons‘, from which this print is taken, he revisits the Russian folk motifs in the style of his earlier textile pieces in which he placed small iconic symbols in large fields of flat colour.
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Timur Novikov. Genuine Russia. 1989-2005
£1,250.00Timur Novikov revisits the Russian folk motifs in the style of his textile pieces by placing small iconic symbols (purposefully generalised, reduced and simplistic images) in large fields of flat, often bright, colour. His method of re-arranging, altering and proposing new semantic representation, use of symmetry and a horizontal (more rarely diagonal), division of space, became the new art language, adapting a three-dimensional world onto a flat surface, in a manner resonant of modern computer graphics or ancient hieroglyphics. Made during the perestroika years, the Horizons series reflects the youthful and optimistic spirit of the times whilst demonstrating the artist’s penchant for open perspectives – new possibilities of imagination and vision, the enlarged horizon, the greater hope.
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Timur Novikov. House in Steppe. 1989-2005
£416.67Novikov revisits the Russian folk motifs in the style of his textile pieces by placing small iconic symbols (purposefully generalised, reduced and simplistic images) in large fields of flat, often bright, colour. His method of re-arranging, altering and proposing new semantic representation, use of symmetry and a horizontal (more rarely diagonal), division of space, became the new art language, adapting a three-dimensional world onto a flat surface, in a manner resonant of modern computer graphics or ancient hieroglyphics. Made during the perestroika years, the Horizons series reflects the youthful and optimistic spirit of the times whilst demonstrating the artist’s penchant for open perspectives – new possibilities of imagination and vision, the enlarged horizon, the greater hope.
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Timur Novikov. Icebreaker. 1987-2005
£1,083.33Novikov revisits the Russian folk motifs in the style of his textile pieces by placing small iconic symbols (purposefully generalised, reduced and simplistic images) in large fields of flat, often bright, colour. His method of re-arranging, altering and proposing new semantic representation, use of symmetry and a horizontal (more rarely diagonal), division of space, became the new art language, adapting a three-dimensional world onto a flat surface, in a manner resonant of modern computer graphics or ancient hieroglyphics. Made during the perestroika years, the Horizons series reflects the youthful and optimistic spirit of the times whilst demonstrating the artist’s penchant for open perspectives – new possibilities of imagination and vision, the enlarged horizon, the greater hope.
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Timur Novikov. Penguins. Silkscreen. 1989
£1,083.33Timur Novikov revisits the Russian folk motifs in the style of his textile pieces by placing small iconic symbols (purposefully generalised, reduced and simplistic images) in large fields of flat, often bright, colour. His method of re-arranging, altering and proposing new semantic representation, use of symmetry and a horizontal (more rarely diagonal), division of space, became the new art language, adapting a three-dimensional world onto a flat surface, in a manner resonant of modern computer graphics or ancient hieroglyphics. Made during the perestroika years, the Horizons series reflects the youthful and optimistic spirit of the times whilst demonstrating the artist’s penchant for open perspectives – new possibilities of imagination and vision, the enlarged horizon, the greater hope.
