Art at Ober Gallery, All Things Russian

Contemporary, and almost contemporary, Russian artists are a peculiar lot. Insular, with a near-fortress mentality toward the outside world that borders on fear, they work in the confines of all things Russian. Even when poking fun at Communist history or the bureaucracy of the present, they reference Russian painters of the past —the great Kasimir Malevich for instance, or Marc Chagall, who was Russian before he became French — Russian symbols, folktales, even the famous matryoshka nesting dolls.

Now, in a huge, sweeping show he calls “Russian Art: Then and Now,” Rob Ober has filled both his own Ober Gallery and the former Bachelier Cardonsky Gallery with almost 70 works in a variety of media that give glimpses into the Russian soul. Works are by some dead artists — one committed suicide after emigrating to Israel — and many living ones, including Vitaly Komar, whose painting, “Stalin Contemplating a Bust of Marx,” a not-so-subtle reference to Rembrandt’s “Aristotle with a Bust of Homer,” is priced at an astounding $150,000.

There are so many references to other artists in the show that it is refreshing to see truly original works. A whole wall in the Ober space is taken by a series of brilliant graphite-on-paper sketches of faces. Done in a flowing, looping line, each face confronts us with piercing immediacy. As separate drawings they are intense; as a group they are overwhelming.

Arcady Kotler’s sculptural riff on the nesting doll is also a riff on op art: a medium-sized torpedo shape of silver resin is cut out to display telescoping concentric squares made of thick black enamel. 

Michel Roginsky, who died in 2004, is represented by a gentle oil in pale, ghostly color of a Moscow working-class neighborhood with the words, in Russian, “No one could see the mass repressions of 1937.” (Stalin’s great purge of 1937-38 killed at least 700,000 people, perhaps more than 1.5 million.)

Two lovely oils on paper by Yefim Ladyzhensky seem to come from another milieu, one both bucolic and peaceful. Yet Ladyzhensky was a conflicted artist, a Jew who felt he did not belong in Soviet Russia, a Soviet who did not think he belonged in Israel, after he emigrated in 1978. He hanged himself in his tiny studio in 1982.

Elsewhere in the show are a wooden dragon head with a protruding, bright red tongue like a lightening bolt, a painting with artist Alexander Zhdanov’s omnipresent running man, three marvelous pictures that resemble satellite images of a town, even a picture of a skull with a bullet hole, another example of Russian interest in the macabre.

This is a compelling show, one that opens Russian artistic obsessions to close examination, if not always appreciation. It is a must-see.

Russian Art: Then and Now will continue at Ober Gallery until an unspecified date in March. While the show is in two locations, it begins in Ober’s main gallery, 14 Old Barn Road, Kent, CT. The gallery is open afternoons Thursday through Sunday. Call 860-927-5030 or go to obergallery@gmail.com.

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