Natalya Nesterova - Contemporary Art Part II New York Friday, May 16, 2008 | Phillips

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  • Provenance

    Acquired directly from the artist

  • Exhibited

    Cologne, Ludwig Museum, Sowjetkuns teute Museum Ludwig, 1988 

  • Literature

    R. Hughes, "Canvases of Their Own", Time Magazine, April 10, 1989, pp. 116-118; J.L. Ferruer, History of Art of XX Century, Paris, 1990; G. Durozoi, ed. Dictionary of Modern and Contemporary, Paris, 1993; G. Glueck, "Nyet to Passé Soviet Realism, Yes to Lenin as Mickey Mouse", The New York Times, Friday, December 5, 2003

  • Catalogue Essay

    These prototypes then appeared in situations in Moscow and St. Petersburg, in Czechoslovakia, and elsewhere... including New York and the Holy Land; national texture is therefore universal. A kind of universalism can also be observed in geographic situations. It is not so important where marble sculptures (humanly corporeal) shiver in the wind and people (incorporeal as mirages), flit by ― whether in St. Petersburg’s Summer Garden or in New York’s Central Park. It is not important where a fountain is playing ― in the Central Park of Culture and Leisure in Nalchik, in New York's Central Park or it might be in Versailles. What is important is that it is playing in time; that the rise and fall of its streams show a reification and realization of the ceremonial flow of time. A somnambulistic self-absorption in time flows (she seems to be with us, here and now, but no one, including she herself, knows where the ‘search for lost time’ or for future time will take her). That is the essence of Nesterova's poetics. She cannot fail to attract, to involve viewers: sleep, darkness and awakening? What could be more universal and more personal?
    Herein lies the essence: that which is universal and programmed seems to have been achieved; but natural human reactions make their way through that matrix. That human, personal element which had slipped away in the past; it is time for the universal to disappear... It is all the same, strikingly steadfast and Nesterovian: presence-disappearance. I think that Nesterova's message can never be ephemeral…..
    A. Borovsky, Natalya Nesterova: Reflections of Time Past, St. Petersburg, 2004




Oil on canvas. 
50 x 68 in. (127 x 172.7 cm).
Signed, titled, and dated "Nesterova N. Park 2006" on the reverse. 

$70,000 - 90,000 

Sold for $85,000

Contemporary Art Part II

16 May 2008, 10am & 2pm
New York