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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

    The category of presence is fairly well defined but what about disappearance? How does Nesterova visualize and reify (Bakhtin's term) this extremely difficult material? Her paintings play the role, as was said in the eighteenth century, of ‘symbols and emblems.’ Indeed, endless flashes of the flow of time stopped, found, lost, reversed, discrete permeate all of Nesterova's work. We note that the flash is only a device for illumination, for lighting up the flow of time; for working with it. It has nothing to do with ‘staying the moment.’ The moment stayed, the still photo, are individual and rare instances of work with the ceremonial flow of time. Usually this work is more complex Nesterova is testing out time with all of the senses; she grasps the most complex temporal processes.
    A. Borovsky, Natalya Nesterova: Reflections of Time Past, St. Petersburg, 2004

431

Wind

2005
Oil on canvas. 
70 3/4 x 47 in. (179.7 x 119.4 cm).
Signed and dated "Nesterova N. 2003" on the reverse. 

Estimate
$70,000 - 90,000 

Contemporary Art Part II

16 May 2008, 10am & 2pm
New York