- Komar and Melamid
Komar and Melamid is an artistic team made up of
Russia n graphic artistsVitaly Komar (born 1943) andAlexander Melamid (born 1945). In an artists’ statement they said that “Even if only one of us creates some of the projects and works, we usually sign them together. We are not just an artist, we are a movement.” Both artists were born inMoscow and -- being Jewish -- they emigrated toIsrael in 1977 and subsequently toNew York in 1978.Education
Komar and Melamid graduated from the Stroganov Institute of Art and Design in 1967; they began working together shortly thereafter. After 36 years they separated in 2003.
History
Komar & Melamid’s first joint exhibition, "Retrospectivism," was held at the Blue Bird Cafe in Moscow, 1967. The following year, they joined the youth section of the
Moscow Union of Artists and began teaching art. In 1972, Komar & Melamid founded a movement they called "Sots Art ," a unique version of Soviet Pop andConceptual Art that combines the principles ofDada ism andSocialist Realism . In 1973, they were expelled from the Artists’ Union for “distortion of Soviet reality.” In 1974, they were arrested during a performance (in a Moscow apartment) of "Art Belongs to the People". Later that year, their "Double Self-Portrait" (similar to dual portraits of Lenin andStalin ) was destroyed by theSoviet government, along with works by other nonconformist artists, at what became known as the "Bulldozer Exhibition " (because bulldozers were used to destroy the artwork, which had been displayed in an open-air setting).In 1976, Komar & Melamid’s work became more widely known.
Ronald Feldman Fine Arts ,New York , hosted their first international exhibition, but Soviet authorities denied them permission to attend. In 1976, they also made their first attempt at emigrating, but permission was denied. In response, they created their own country, “Trans-State,” complete withpassport s and aconstitution . In 1977, they received permission to join relatives inIsrael . In 1978, they moved toNew York ; in the same month, their first museum exhibition opened at theWadsworth Athenaeum inHartford, Connecticut .Throughout the 1970s, Komar & Melamid also worked in a style they called “Post-Art,” pioneering the use of multi-stylistic images, prefiguring the eclectic combination of styles in
post-modernism , which became popular in the 1980s. They collaborated on various conceptual projects, ranging frompainting and performance to installation,public sculpture ,photography ,music , andpoetry . In one such performance, they established a corporation, Komar & Melamid, Inc., that had as its purpose “the buying and selling of human souls.” They bought several hundred souls, includingAndy Warhol ’s, which was smuggled into Russia and then sold for 30rubles .Melamid moved to
New Jersey in 1980. He continued to work with Komar in New York. In 1981, their "Portrait of Hitler" was slashed by an ex-Trotskyite disc jockey inBrooklyn . They did not repair the work, considering the attacker a co-author.Ronald Feldman hosted the exhibition "Sots Art" in 1982, which was a commercial and critical success. In 1983, theMuseum of Modern Art and theMetropolitan Museum of Art purchased paintings. From 1981-1983, they continued to develop Sots Art in the series Nostalgic Socialist Realism, and from 1984-1990 they further developed Post-Art in the Diary Series, Anarchistic Synthesis Series, and Bayonne, N.J. Series.Throughout the 1980s, many prominent writers and critics discussed their work, and they were invited to participate in numerous exhibitions. They were the first Russian artists to receive funding from the
National Endowment for the Arts . They were also the first Russian artists to be invited toDocumenta (Kassel, Germany , 1987).Komar & Melamid created their first
public art sculpture in 1986, a bronzebust ofStalin , which was installed in thered light district ofThe Hague ,the Netherlands . In 1988, they became US citizens. In 1989, amonograph about them, written byCarter Ratcliff , was published byAbbeville Press .In the early 1990s, Komar & Melamid created two
icon s for theHoly Rosary Church inJersey City . In 1992, they began the series, Monumental Propaganda, in response to the destruction of Socialist Realist monuments in Russia. At Komar & Melamid’s invitation, more than 200 Russian and Western artists created projects for the preservation of monuments. Prolific press coverage of the project forestalled destruction of monuments in Russia.From 1994-1997, the artists worked on the series, People’s Choice, whereby they created the “most wanted” and “least wanted” paintings of various countries based on the results of surveys conducted by professional polling companies. The book, "Painting by Numbers: Komar & Melamid’s Scientific Guide to Art", published in 1997, explains the statistical underpinnings of the polling process and provides the results of each country’s preferences. Komar & Melamid used the same process in 1996-1997 in a collaboration with composer
Dave Soldier to create "The People's Choice Music", consisting of "The Most Wanted Song" (a love song with low male and female vocals, of moderate duration, pitch, and tempo) and "The Most Unwanted Song" (in part: an operatic soprano raps over cowboy music featuring least-wanted instruments bagpipes and tuba). In 1998, "Naked Revolution", an opera aboutGeorge Washington ,Vladimir Lenin andMarcel Duchamp , was created by Komar & Melamid withDave Soldier and performed at theWalker Art Center ,Minneapolis , andthe Kitchen , New York. It became part of the exhibition "American Dreams", along with a series of eight paintings, forty collages, and the artists’ collection of George Washington memorabilia.In 1998, the artists also went to
Thailand to teach elephants to paint, resulting in the book, "When Elephants Paint: The Quest of Two Russian Artists to Save the Elephants of Thailand". In 2000,Christie's auction house held the first-ever auction of elephant paintings. The revenue generated supported the elephants and their keepers.In 2001, Komar & Melamid began work on their last major project together, Symbols of the Big Bang, first exhibited at the
Yeshiva University Museum ,Center for Jewish History , New York. Using abstract symbols, the artists explored their spirituality and the connection betweenmysticism andscience . In 2003, they began to turn some of the symbols intostained glass , which Russian authorities refused to exhibit during the Moscow portion of the exhibition, "Berlin-Moscow/Moscow-Berlin " (2004). Komar & Melamid ceased collaborating in 2003. [ Artists' website: http://komarandmelamid.org/chronology.html and Carter Ratcliff's monograph. ]Style
They are perhaps best known as the founders of
SotsArt (СоцАрт), a form ofSoviet Nonconformist Art that combined elements ofSocialist Realism and WesternPop Art in a conceptual framework that also references Dadaism. Komar and Melamid often create many works within a common theme. Their prolific collaboration precludes from mentioning all of their projects, however, some of their best known series and projects are: Sots Art series (1972-1973), Post-Art series (1973), Ancestral Portraits series (1980), Nostalgic Socialist Realism series (1982-1983), Diary series (1984-1986), Anarchistic Synthesism series (1985-1986), Most-Wanted series (1993-1997), Monumental Propaganda (1994), Elephant Project (1995-2000), American Dreams (1994-1999).References
* Ratcliff, Carter. "Komar and Melamid", New York: Abbeville Press, 1988. ISBN 0-89659-891-8
* Wypijewski, JoAnn, ed. "Painting by Numbers: Komar and Melamid's Scientific Guide to Art", New York: Farrar Straus Giroux, 1997.
* Komar and Melamid. "When Elephants Paint: The Quest of Two Russian Artists to Save the Elephants of Thailand", New York: HarperCollins, 2000. ISBN 0-06-095352-7
* Nathanson, Melvyn, ed. "Komar/Melamid: Two Soviet Dissident Artists", Southern Illinois University Press, 1979.
* "Komar and Melamid" The Fruitmarket Gallery, Edinburgh, exhibition catalogue, 1985. ISBN 0-947912-20-7
* Weiss, Evelyn. "Komar & Melamid: The Most Wanted and the Most Unwanted Painting", Museum Ludwig Koln, Ostfildern: Cantz, 1997.
* "Komar and Melamid" "The Penguin Concise Dictionary of Art History"Nancy Frazier (ed.) Penguin Reference, New York 2000 ISBN 0-670-10015-3 .
* "Komar and Melamid" "Art since the 40's" by Jonathan Fineberg
* "Komar und Melamid" "Bildende Kunst im 20 Jahrhundert" Edward Lucie-Smith (ed.) Könemann in der Tandem Verlags-Gmbh 2002, ISBN 3-8290-1717-0 .
* "Komar and Melamid (1945- )" "Who's Who in American Art" 23rd edition, 1999-2000. Marquis, New Providence, NJ;
* "Komar and Melamid" "Contemporary Artists" Fifth edition. Sara Pendergast and Tom Pendergastm (eds.) St. James Press, Detroit, 2002.
* "Komar and Melamid" "The Prestel Dictionary of Art and Artists in the 20th Century" Prestel Verlag, New York, 2000.
* "Komar and Melamid" "World Artists, 1950-1980" Claude Marks (ed.) H.W. Wilson Co., New York, 1984.
* "Komar and Melamid" "A Dictionary of Twentieth-Century Art" Ian Chilvers (ed.) Oxford University Press, New York 1998 ISBN 0-19-280092-2 .External links
* [http://www.komarandmelamid.org Komar and Melamid Chronology and Images from 1972-2003]
* [http://www.diacenter.org/km/ The Most Wanted Paintings "on the web"]
* [http://www.diacenter.org/km/musiccd.html The People's Choice Music]
* Kolodzei Collection of Russian and Eastern European Art, Kolodzei Art Foundation [http://www.kolodzeiart.org/KomarandMelamid.html]
Wikimedia Foundation. 2010.