The First Art Newspaper on the Net    Established in 1996 Friday, December 3, 2021

Fort Gansevoort opens Zoya Cherkassky's first solo exhibition in the United States
Zoya Cherkassky, Maverick, 2019. Oil on linen, 47.25 x 63 in.

NEW YORK, NY.- Fort Gansevoort presents Soviet Childhood, the first solo exhibition in the United States featuring the work of Zoya Cherkassky. Through the depiction of the quotidian lives of the final generation of Soviet children, Cherkassky creates a nostalgic and approachable portrait of the Soviet Union. One can relate to the banality of these scenes, with only the fashions and details peppered throughout disclosing the strange time and place in which Cherkassky and her subjects lived.

Cherkassky was born in Kiev, Ukraine in 1976 while the country was still under the control of the Soviet Union. She and her family immigrated to Israel when she was fifteen years old in 1991, the year of the Soviet Union’s collapse. By painting her personal narrative, Cherkassky’s work is intrinsically political and complex; only to be amplified by her marriage to a Nigerian fellow immigrant into Israel. Cherkassky’s mid-career survey at The Israel Museum this past year, titled “Pravda”, explored the friction between the flux of immigrants from the Soviet Union and Israeli Society.

Soviet Childhood looks back. This exhibition focuses on her experience growing up in the Soviet Union, the period of her life preceding her immigration to Tel Aviv where she now continues to reside. This series begun while the artist was living in Israel and was expecting her first and only child, leading her to reflect on her own childhood. The series began as pen drawings, illustrating her memories of everyday life in the Soviet Union. The larger paintings included in the exhibition provide carefully chosen scenes from daily life under Soviet rule during the 1980s. These scenes are chosen from not only Cherkassky’s own memories but are also thoroughly researched in an effort to provide as much historical accuracy as possible while also offering Cherkassky’s wit and humor. She portrays a time when the Soviet aesthetic remained strong but evidence of Western influence had trickled through the iron curtain dominating children and teens’ interests, making for an uncanny pairing. This phenomenon subtly extended into the older generation as well. This is unmistakable in the painting titled, Vareniki where a home cooked meal is prepared by a mother in a yellow T-Shirt affixed with the word “Crazy”.

Soviet Childhood portrays the collective memory of the final generation of Soviet children, making for a nostalgic tone. Cherkassky’s subjects are at times as simple as a city street scene busy with commuters on their way to work. Such scenes also act as distinct and easily recognizable architectural landscapes. She then focuses in on vignettes of the lives of these citizens through scenes familiar to all; this includes soccer practice, dancing and parties; their location only made evident by this period’s peculiar fashions and design.

The eccentric influence of the West is clearly exemplified in Cherkassky’s three life-sized portraits of teenage girls. Each of these pieces act as a time capsule of the era’s styles. The exhibition pairs these characters with the strict and quintessential Soviet school uniforms in September the 1st. Cherkassky herself shared an esteem for Western punk culture with many teens of her generation. The piece titled, Maverick shows a young rebel punk juxtaposed with his conservative parents; each of their wall decor is descriptive of their political stance. This need for the Western influence is evident not only in fashion sense but also in political views and thinking, such as in The Voice of America.

Cherkassky clearly looks back at Soviet Realist painting, popular throughout her childhood. She makes use of the scenes depicted in these paintings, then used as idyllic portrayals of Soviet life meant as propaganda. Similarities can also be seen between Cherkassky and Mikhail Roginsky’s work, a Soviet Nonconformist Artist working as the political opposition to the Soviet Realists. The same bleak scenes of foot traffic across city streets are found in both artists’ oeuvres. Though her paintings are consistently tinged with criticism, Cherkassky uses these everyday scenes to create a feeling of nostalgia rather than that of political upheaval.

Zoya Cherkassky was born in Kiev, Ukraine in 1976. In 1991, she immigrated to Israel. She earned her BFA from HaMidrasha School of Art at Bier Berl College. Her work has been shown internationally at institutions including; Rosenfeld Gallery Tel Aviv, Henrich Böll Foundation Gallery Tel Aviv, Circle1 Gallery Berlin, Kuenstlerhaus Bethanien Berlin, Guelman Gallery Moscow, and The Tel Aviv Museum of Art. In 2018, the Israel Museum in Jerusalem held a mid-career survey of her work. Cherkassky’s work is included in the permanent collections of The Jewish Museum New York, Jewish Museum Berlin, Jewish Museum Vienna, The Israel Museum Jerusalem, Tel Aviv Museum of Art Tel Aviv, and The Doron Sebbag Art Collection Tel Aviv. Residencies include Chiliufim: Exchange of Artist and Art in Germany and Kuenstlerhaus Bethanien in Berlin. Cherkassky currently lives and works in Tel Aviv, Israel.

Today's News

May 2, 2019

Tate announces four artists who have been shortlisted for the Turner Prize 2019

Leonard A. Lauder Research Center for Modern Art launches digital archives initiative

Christie's to offer Apollo 11 Lunar Module Timeline Book

Sotheby's announces highlights from its May Evening Sale of Impressionist & Modern Art

Drinks with Mona Lisa: A special night at the museum

Souls Grown Deep announces four new museum acquisition agreements

$13 million marks highest auction total for Prints & Multiples at Sotheby's since 2007

Food for thought: Maiolica on view at the Georgia Museum of Art

Jeff Wall's first exhibition with Gagosian opens in New York

Artcurial to offer a set of 15 pieces of art on paper entitled 'Salvador Dalí: Metamorphoses'

Tirana's 'pyramid' puts checkered past behind it for new tech future

Patrick Heide Contemporary Art exhibits recent works by Susan Schwalb and Caroline Kryzecki

Christie's sales of Post-War and Contemporary Art in Amsterdam total $8,750,736

Luhring Augustine opens an exhibition of new paintings by Sanya Kantarovsky

Egyptian Queen, Frank Frazetta's 1969 masterpiece, may bring millions in auction debut at Heritage Auctions

Middle Eastern Art Week led by £5.4 million portrait of Suleyman the Magnificent & 12 artist records

Mitchell-Innes & Nash now represents Gerasimos Floratos

Brazil's 'godmother of samba' Beth Carvalho dies

Fort Gansevoort opens Zoya Cherkassky's first solo exhibition in the United States

Sebastian Errazuriz sculpture exhibition opens at the Elizabeth Collective

Exhibition explores the inequalities in the global food system

Exhibition presents jewellery, glass and ceramics as envisioned by gallerists

Music as part of art - Winnipeg concerts

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
Founder's Site. The most varied versions
of this beautiful prayer.
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful