Ron Kostyniuk: Art as Nature Analogue
Ðîí Êîñòèíþê: Ìèñòåöòâî ÿê àíàëîã ïðèðîäè
Bilingual (English and Ukrainian)
Member Price: $35.55
8.5" W x 11" H
It is with pleasure that The Ukrainian Museum is presenting the exhibition Ron Kostyniuk: Art as Nature Analogue, which originated at the Ukrainian Institute of Modern Art in Chicago under the title Ron Kostyniuk: Construction/Neo-Construction. Kostyniuk’s work has been widely exhibited and is included in many private and museum collections in Canada. The artistic community of Chicago has also become familiar with his works over the years; since the late 1960s, they have been included in such significant exhibitions as The Structurists at the Kazimir Gallery — an important gallery at the time devoted exclusively to Constructive Art — and Relief/Construction/Relief at the Museum of Contemporary Art. The latter show traveled to the Herron Museum in Indianapolis, the Cranbrook Academy in Bloomfield Hills, Michigan, and the High Museum in Atlanta, Georgia. Kostyniuk has taken part in a number of exhibitions at the Ukrainian Institute of Modern Art in Chicago, and this is the second one-man show the Institute has presented of his works. We are pleased to collaborate with the Institute and to introduce this wonderful Canadian artist of Ukrainian descent to the New York public.
Ron Kostyniuk is a professor of Fine Art at the University of Calgary, where he has taught for over 40 years. This exhibition includes twenty-eight works derived both from his fascination with biology and the structuring process found in nature and from his interest in the work of modernist and constructivist artists such as Pablo Picasso, Alexander Archipenko, Charles Biederman, Naum Gabo, and Vladimir Tatlin. The selected works span the period from 1967 to 2011 and represent the evolution of his constructive relief sculptures in a number of series that comprise his creative output. The catalogue itself includes more than 100 works and provides an overview of the distinguished career of this prolific artist.
The approach taken in this exhibition catalogue is somewhat different from the traditional one, where the voice analyzing the works in museum exhibitions is that of the art historian, the curator. In the essay in this catalogue, the artist himself is given the voice of both the curator, who poses leading questions, and the artist, who is given the opportunity to explain and make the connection for his audience among ideas, materials, and the creative process that goes into the creation of a work of art. It is a rare chance to catch a glimpse of an artist’s vision and to participate in his creative journey. As Kostyniuk states so eloquently in the credo that concludes his essay:
As the artist creates, so does the viewer, in a symbiotic relationship of the highest order. Engendered in all of mankind is a creative spirit – everyone dances when one dances, everyone sings when one sings, and everyone sculpts when one sculpts.
After all — whether a painter, a sculptor, a composer, a poet, or a dancer — it is the artist who gives voice to the creative spirit that is celebrated by museums and cultural institutions throughout the world.