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  • Provenance


    Acquired directly from the artist

  • Exhibited


    Washington, D.C., National Jewish Museum, Here and There, Then and Now:
    Contemporary Artists from the Former Soviet Union, 1996; Baltimore, Evergreen House
    Museum, The Johns Hopkins University, Modernism and Post-Modernism, September 22 –
    November 20, 2000; New York, Schimmel Center for the Arts, Pace University, Russian Art,
    October 15 – November 15, 2002; New York, Museum of the Yeshiva University,
    Remembrance: Russian Post-Modern Nostalgia, September 10, 2003 – February 2, 2004; West
    Hollywood, Los Angeles, Pacific Design Center, Through the Past to the Future, April 16 – 23,
    2004; Washington, D.C., “Fondo del Sol” Museum, November 25, 2005 – January 20, 2006;
    New York, Frederick P. Rose Hall, Jazz at Lincoln Center, 2006 Annual Tretyakov Ball,
    November 8, 2006

  • Catalogue Essay


    Mikhail Roginsky began absorbing international art ideas while still in the
    Soviet Union in the 1960s. Immigration to France in the late 1970s did not
    change his perception of the art world. After the move, Roginsky switched
    his focus towards his new environment, and developed his ideas on the
    contemporary art spiral. Roginsky expressed interest in the regular and
    often banal objects of everyday life as early as the beginning of the 1960s
    and has often been described as a Russian pop-artist. Original American
    Pop Art consisted of removing an object from its original context,
    transplanting it, and re-instating it as a piece of trash produced by society.
    Roginsky connected with pop-artists in their belief that objects are symbols
    of monotony. However, in his works the subject is not a consumer product,
    but solely an everyday object that is at the same time a metaphysical object.
    Very often, by abstracting the subject from the viewer, he restores the
    central meaning inherent in the object. His objects are illustrations of that
    time in life, the 1960s and 70s, with its ugliness, disorder, and communal
    apartments.They were subjects of the artist’s investigation. Asserting the
    fact of their existence did not depend on the lives of the owners so much.
    Roginsky found an artistic beauty in their ugliness without depicting them,
    unlike what American pop-artists did, in beautiful “commercial”
    techniques. His dark and gloomy, Philip Guston-like colors, surprisingly,
    summon viewers and activate their minds for unexpected associations, as
    one can see in Roginsky’s Untitled I.The modern tool of quotations from
    various banal advertisement slogans and logos helps create an impression
    of absurdist magic for the viewer.

274

Untitled I

1985
Oil on canvas.
80 x 60 in. (203.2 x 152.4 cm).

Signed and dated “Roginsky 85” lower right.

Estimate
$50,000 - 70,000 

Sold for $49,000

Contemporary Art Part II

16 Nov 2007, 10am & 2pm
New York