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In 1974, "Apraksina" became her creative pseudonym.<ref name="Kushnir, Alexander" /> Her salon on Apraksin Lane hosted the original members of [[Akvarium]], as well as nascent songwriter [[Mike Naumenko]]<ref name="Kushnir, Alexander" />, who by the early 1980s as the founder of [[Zoopark]] would gain recognition as a key figure in [[Russian rock]] and blues music.<ref name="www.sptimes.ru">[http://www.sptimes.ru/index.php?action_id=2&story_id=35491 Chernov, Sergey. ''Unexposed genius: Musicians will gather this week to remember the late Zoopark singer Mike Naumenko.''] The St. Petersburg Times. April 18, 2012</ref> <ref name="Urban, Michael, with Andrei Evdokimov. ''Russia Gets the Blues: Music, Culture, and Community in Unsettled Times.''">Urban, Michael, with Andrei Evdokimov. ''Russia Gets the Blues: Music, Culture, and Community in Unsettled Times.'' Ithaca and London: Cornell University Press, 2004. P. 32, 90, 93. ISBN 0-8014-4229-X</ref> In one of his late interviews, Mike revealed that "all [his] songs are dedicated to her."<ref name="Kushnir, Alexander" />
In 1974, "Apraksina" became her creative pseudonym.<ref name="Kushnir, Alexander" /> Her salon on Apraksin Lane hosted the original members of [[Akvarium]], as well as nascent songwriter [[Mike Naumenko]]<ref name="Kushnir, Alexander" />, who by the early 1980s as the founder of [[Zoopark]] would gain recognition as a key figure in [[Russian rock]] and blues music.<ref name="www.sptimes.ru">[http://www.sptimes.ru/index.php?action_id=2&story_id=35491 Chernov, Sergey. ''Unexposed genius: Musicians will gather this week to remember the late Zoopark singer Mike Naumenko.''] The St. Petersburg Times. April 18, 2012</ref> <ref name="Urban, Michael, with Andrei Evdokimov. ''Russia Gets the Blues: Music, Culture, and Community in Unsettled Times.''">Urban, Michael, with Andrei Evdokimov. ''Russia Gets the Blues: Music, Culture, and Community in Unsettled Times.'' Ithaca and London: Cornell University Press, 2004. P. 32, 90, 93. ISBN 0-8014-4229-X</ref> In one of his late interviews, Mike revealed that "all [his] songs are dedicated to her."<ref name="Kushnir, Alexander" />


Primarily self-taught,<ref name="Anomalia">{{Cite news|url=http://www.pressa.spb.ru/newspapers/anomal/arts/anomal-159-art-7.html|title=Polevich, A. "The Musical Staff of Tatyana Apraksina."|work=Anomalia }} St. Petersburg. No.4 (159), February 20, 1998.</ref> <ref name="Sagalov">{{Cite news|title=Sagalov, Zinovy. "California Psalms."|work=Posrednik }} Philadelphia, Penn. March 5-18, 2003, No. 5 (88).</ref> <ref name="Baku">{{Cite news|title=Ismailova, Nadezhda. Profile: Letter from Augsburg - The Artist from Apraksin Dvor|work=Zerkalo }} Baku, Azerbaijan. No. 129, July 12, 2003. P. 33.</ref> Apraksina managed to establish herself as a graphic artist, employed by factories, stores and movie theaters.<ref name="Anomalia" /> Themes of early exhibits of her independent creative work included the courtyards of old Leningrad,<ref name="Music in the USSR">{{Cite news|title=Askerov, Eldar. "A Source of Inspiration|work=Music in the USSR }} Moscow: VAAP-Inform, January-March 1988, p. 72-73.</ref> particularly nearby [[Apraksin Dvor]].<ref name="Sagalov" /> <ref name="Baku" /> She then began to gather material for a new direction in her work by studying the culture of music and musicians.<ref name="Music in the USSR" /> <ref>Askerov, Eldar. Tatyana Apraksina. ''Musical Life'' magazine, USSR Composers Union and Ministry of Culture, summer 1987.</ref> <ref>Tatyana Apraksina. ''Soviet Union'' magazine, Moscow, June-July 1987.</ref> She attended rehearsals of the Leningrad Philharmonic and other ensembles for four to six hours a day,<ref name="Anomalia" /> getting to know musicians and producing hundreds of charcoal sketches, and reading music-related literature.<ref name="Music in the USSR" /> She exhibited this early music-related work at what is now the [[Saint Petersburg Philharmonia]]. The hall's director, Dmitry Ivanovich Sollertinsky, facilitated her work by giving her an on-site studio and a pass granting access to nearly all rehearsals and concerts at the Philharmonia.<ref name="Sagalov" /> During this period, Apraksina experienced conflicts with the [[KGB]], nominally related to her contacts with foreigners.<ref name="Sagalov" />
Primarily self-taught,<ref name="Anomalia">{{Cite news|url=http://www.pressa.spb.ru/newspapers/anomal/arts/anomal-159-art-7.html|title=Polevich, A. "The Musical Staff of Tatyana Apraksina."|work=Anomalia }} St. Petersburg. No.4 (159), February 20, 1998.</ref> <ref name="Sagalov">{{Cite news|title=Sagalov, Zinovy. "California Psalms."|work=Posrednik }} Philadelphia, Penn. March 5-18, 2003, No. 5 (88).</ref> <ref name="Baku">{{Cite news|title=Ismailova, Nadezhda. Profile: Letter from Augsburg - The Artist from Apraksin Dvor|work=Zerkalo }} Baku, Azerbaijan. No. 129, July 12, 2003. P. 33.</ref> Apraksina managed to establish herself as a graphic artist, employed by factories, stores and movie theaters.<ref name="Anomalia" /> Themes of early exhibits of her independent creative work included the courtyards of old Leningrad,<ref name="Music in the USSR">{{Cite news|title=Askerov, Eldar. "A Source of Inspiration|work=Music in the USSR }} Moscow: VAAP-Inform, January-March 1988, p. 72-73.</ref> particularly nearby [[Apraksin Dvor]].<ref name="Sagalov" /> <ref name="Baku" /> She then began to gather material for a new direction in her work by studying the culture of music and musicians.<ref name="Music in the USSR" /> <ref>Askerov, Eldar. Tatyana Apraksina. ''Musical Life'' magazine, USSR Composers Union and Ministry of Culture, summer 1987.</ref> <ref>Tatyana Apraksina. ''Soviet Union'' magazine, Moscow, June-July 1987.</ref> She received permission to attend rehearsals of what is now the [[Saint Petersburg Philharmonic Orchestra]] and of other ensembles, doing so for four to six hours a day,<ref name="Anomalia" /> getting to know musicians and producing hundreds of charcoal sketches, and reading music-related literature.<ref name="Music in the USSR" /> She exhibited this early music-related work at what is now the [[Saint Petersburg Philharmonia]]. The hall's director, Dmitry Ivanovich Sollertinsky, facilitated her work by giving her an on-site studio and a pass granting access to nearly all rehearsals and concerts at the Philharmonia.<ref name="Sagalov" /> During this period, Apraksina experienced conflicts with the [[KGB]], nominally related to her contacts with foreigners.<ref name="Sagalov" />


Students and relatives of [[Dmitri Shostakovich]] assisted<ref name="Sagalov" /> in the creation of Apraksina's first portrait of the composer, known for its unusual approach of depicting the composer's face at different ages on the same canvas,<ref>Kagan, M.S. ''Behold the Man… Life, Death and Immortality in the "Magic Mirror" of Fine Art.'' St. Petersburg: Logos Publishing, 2003. P. 200.</ref> was donated by the artist to the Leningrad Conservatory on the occasion of Shostakovich's 80th birthday and hung in Room 36, where the composer taught his classes.<ref name="Music in the USSR" /> The portrait was later moved to the St. Petersburg Composers Union, where it remains on permanent display.<ref name="Anomalia" />
Students and relatives of [[Dmitri Shostakovich]] assisted<ref name="Sagalov" /> in the creation of Apraksina's first portrait of the composer, known for its unusual approach of depicting the composer's face at different ages on the same canvas,<ref>Kagan, M.S. ''Behold the Man… Life, Death and Immortality in the "Magic Mirror" of Fine Art.'' St. Petersburg: Logos Publishing, 2003. P. 200.</ref> was donated by the artist to the Leningrad Conservatory on the occasion of Shostakovich's 80th birthday and hung in Room 36, where the composer taught his classes.<ref name="Music in the USSR" /> The portrait was later moved to the St. Petersburg Composers Union, where it remains on permanent display.<ref name="Anomalia" />

Revision as of 03:43, 16 February 2013

Red Fiddler, 1985.

Tatyana Apraksina (Russian: Татья́на Апра́ксина, IPA: [tɐˈtʲjanə ɐˈpraksʲɪnə] ⓘ) is an artist and writer who also produces the magazine Apraksin Blues.

Career

Apraksina settled in Leningrad in 1963 and started to live on Apraksin Lane (Apraksin pereulok) in 1972. The music-inflected unofficial culture of the time began to intersect actively with her life.[1] [2]

In 1974, "Apraksina" became her creative pseudonym.[1] Her salon on Apraksin Lane hosted the original members of Akvarium, as well as nascent songwriter Mike Naumenko[1], who by the early 1980s as the founder of Zoopark would gain recognition as a key figure in Russian rock and blues music.[3] [4] In one of his late interviews, Mike revealed that "all [his] songs are dedicated to her."[1]

Primarily self-taught,[5] [6] [7] Apraksina managed to establish herself as a graphic artist, employed by factories, stores and movie theaters.[5] Themes of early exhibits of her independent creative work included the courtyards of old Leningrad,[8] particularly nearby Apraksin Dvor.[6] [7] She then began to gather material for a new direction in her work by studying the culture of music and musicians.[8] [9] [10] She received permission to attend rehearsals of what is now the Saint Petersburg Philharmonic Orchestra and of other ensembles, doing so for four to six hours a day,[5] getting to know musicians and producing hundreds of charcoal sketches, and reading music-related literature.[8] She exhibited this early music-related work at what is now the Saint Petersburg Philharmonia. The hall's director, Dmitry Ivanovich Sollertinsky, facilitated her work by giving her an on-site studio and a pass granting access to nearly all rehearsals and concerts at the Philharmonia.[6] During this period, Apraksina experienced conflicts with the KGB, nominally related to her contacts with foreigners.[6]

Students and relatives of Dmitri Shostakovich assisted[6] in the creation of Apraksina's first portrait of the composer, known for its unusual approach of depicting the composer's face at different ages on the same canvas,[11] was donated by the artist to the Leningrad Conservatory on the occasion of Shostakovich's 80th birthday and hung in Room 36, where the composer taught his classes.[8] The portrait was later moved to the St. Petersburg Composers Union, where it remains on permanent display.[5]

In later years, Apraksina's exploration of classical music continued.[12] [13] In 1987, the Kurchatov Institute[6] and the Glinka Museum of Musical Culture were among institutions in Moscow to host Apraksina's exhibits.[8] She also worked with the Borodin Quartet.[6] [5] Apraksina's relationship with the composer Aleksandr Lokshin, occasioned by painting his portrait[8] [2] just prior to his death, would remain significant in later years as the artist took an active role in rehabilitating the slandered composer's reputation through her writing.[14] [15] [16] The writing also embodied a first public statement of the risks to which painting and displaying the portrait had exposed her career.[16] [17]

Apraksina first exhibited in the United States as a Soviet artist through the Art League of Chicago and Soros Foundation support. The seven-month tour, featuring eleven exhibits from the East to the West Coast of the U.S., also included the artist's lectures.[13] [5]

In 1998, in the building of the Twelve Collegia, Saint Petersburg State University's Center for Contemporary Art held a retrospective exhibit drawn from Apraksina's body of work in parallel with her "March Solo" festival, organized in partnership with the Center for Cultural Studies at the university's department of philosophy.[18] [19] Her "brief segments" on creativity, Lessons for 'Orly, were published in the annual journal of the university's St. Petersburg Philosophical Society in 2000.[20]

In 2008, Apraksina's California Psalms, written in Big Sur, [6] [21] [22] [23] [24] [25] was among the laureates of the international poetry competition held by the Russian Foreign Ministry in partnership with Literary Gazette.[26] [27] She has continued to produce "Apraksin Blues" while based in California.[28]

References

  1. ^ a b c d "Kushnir, Alexander. Mike, "Sweet N and Others"". 100 Cassette Albums of Soviet Rock. Moscow: Agraf, Kraft+, 2003. ISBN 5-7784-0251-1.
  2. ^ a b "Mak, Vladimir. "Apraksin Blues"". Vesti. Tel Aviv, Israel. Nov. 29, 2012
  3. ^ Chernov, Sergey. Unexposed genius: Musicians will gather this week to remember the late Zoopark singer Mike Naumenko. The St. Petersburg Times. April 18, 2012
  4. ^ Urban, Michael, with Andrei Evdokimov. Russia Gets the Blues: Music, Culture, and Community in Unsettled Times. Ithaca and London: Cornell University Press, 2004. P. 32, 90, 93. ISBN 0-8014-4229-X
  5. ^ a b c d e f "Polevich, A. "The Musical Staff of Tatyana Apraksina."". Anomalia. St. Petersburg. No.4 (159), February 20, 1998.
  6. ^ a b c d e f g h "Sagalov, Zinovy. "California Psalms."". Posrednik. Philadelphia, Penn. March 5-18, 2003, No. 5 (88).
  7. ^ a b "Ismailova, Nadezhda. Profile: Letter from Augsburg - The Artist from Apraksin Dvor". Zerkalo. Baku, Azerbaijan. No. 129, July 12, 2003. P. 33.
  8. ^ a b c d e f "Askerov, Eldar. "A Source of Inspiration". Music in the USSR. Moscow: VAAP-Inform, January-March 1988, p. 72-73.
  9. ^ Askerov, Eldar. Tatyana Apraksina. Musical Life magazine, USSR Composers Union and Ministry of Culture, summer 1987.
  10. ^ Tatyana Apraksina. Soviet Union magazine, Moscow, June-July 1987.
  11. ^ Kagan, M.S. Behold the Man… Life, Death and Immortality in the "Magic Mirror" of Fine Art. St. Petersburg: Logos Publishing, 2003. P. 200.
  12. ^ Consonance. Documentary on Tatyana Apraksina. Lentelefilm, 1989. Museum of Television and Radio in the Internet
  13. ^ a b "Zlatogurskaya, Ya. "Red Violinist in White Snow."". Optimalist. Russia. No.1 (5), 1991.
  14. ^ Myaskovsky, Yudina, Barshai, Tischenko, Apraksina and others. On the composer Aleksandr Lokshin. — Moscow: Dialog-Moscow State University Press, 1998
  15. ^ T. Apraksina. "A Face with No Secrets" (English translation). Lokshin.org.
  16. ^ a b Lokshin, Aleksandr A. and Apraksina T. I. Genius of Evil, Face with No Secrets and Beyond the Requiem. 2nd edition, expanded. Moscow: MAKS-Press, 2005.
  17. ^ T. B. Alisova-Lokshina. "Brushstrokes of a Portrait." From "Genius of Evil" and "A Face with No Secrets"", 1st edition. Moscow: MAKS-Press, 2003.
  18. ^ Enyclopedia of St. Petersburg: Center for Contemporary Art at St. Petersburg State University.
  19. ^ Program of "March Solo" III festival, March 27-April 2 1998. St. Petersburg State University Center for Cultural Studies.
  20. ^ T. Apraksina. Lessons for 'Orly. Mysl': St. Petersburg Philosophical Society / St. Petersburg State University. No. 4, 2000. ISBN 5-288-02505-3
  21. ^ Gartshore, B. "Russian artist Tatyana Apraksina to read poems tonight." Monterey County Herald, Friday, Nov. 17, 2000.
  22. ^ "New Frontier Poets." Monterey County Weekly Hot Picks, June 8-14, 2000
  23. ^ "Russian poet to read at City Art." Independent Coast Observer, Gualala, Calif., Dec. 15, 2000
  24. ^ "Tatyana Apraksina. Paintings and Poetry." Henry Miller Library Newsletter, Big Sur, Calif., May-July 2000
  25. ^ "From Russia to Carmel." Carmel Pine Cone, Carmel, Calif., 2003
  26. ^ Results of the Roszarubezhtsenr poetry contest
  27. ^ Gloviuk, Sergei. The Russian world is my home. Introduction to I dream in Russian: Poems by Russians living abroad." Moscow: Roszarubezhtsentr, Moscow Union of Friendship Societies, "Literary Gazette" Publishing, 2007.
  28. ^ Fedoseev A. "Blues on the Theme of Deserts and Fields of Relevance." Snob magazine, Aug. 8, 2009.

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