Boris Zoubkous' “ Happy Art History!” body of work has

Artist Pre - Statement    and Artist Statement.


           Artist Pre-Statement. “Happy Art History!”


1) Space: I am in the Art History and the Art History is in me.


2)   Art History has CONCEPTUAL space : where ideas and concepts of, about and against Art and Art History clash, mingle, devour each other, co-exist, synthesize.


3)   Art History has PHYSICAL space : where  Art books, Art works, Museums, Galleries, bodies of artists and viewers, business transactions, art materials and art studios are all engaged in a mesmerizing dance of the PRESENCE of Art History.


4)   Art History has METAPHYSICAL space : where Ideal and Physical spaces unite and create Super Reality : where the origins of self–expression, search for meaning, biographical and universal, spiritual and creative, lofty and mundane, technological and childish, goofy and unfathomable run through each other in a Comedy of Errands, recharging each other, creating the air to breathe for those who are thinking and living with and by the Art Historical categories of being.


5)   The body of Art works in my “ Happy Art History!” theme are not stylistically pre-cut, homogenous, but rather philosophically focused, multi pointed meditation on Art Practice, Fate of Artist, Power of Art History, Personal and Public experience of Art History. Materials and techniques I used in executing art works for this collection are specific for each peace, depending on a shade or a hue of a thought or emotion about insurmountable summit of Art History Omnipresence. Materials and techniques are eclectic, describing different aspects of Art History, but precise in their one subject focus (how Art History affects us, how we affect Art History?)and methodical in their panoramic totality. I invite kind and inquisitive viewers to experience and enjoy the journey. Thank you!


Life is a conspiracy of the alarm clocks. Metaphysical alarm 
clocks.No major moves of the gnoseological tectonic plates are 
possible before the time is right. The phenomenon of Culture 
(material, spiritual, cognitive, linguistic ) accepts new forms 
of expressions (or any forms of expressions for that matter) 
only when the horizontal (material)plane of the historical 
developement meets its vertical (spiritual, mental, genius) 
plane. The sparks that are produced by the clash of these 
metaphysical crossing planes are the punctuation marks of the 
time itself. The amplitude of the human awakeness is documented 
in Art and Literature. If we look inside the transparent 
parenthesis of the Art History, we can enjoy a little show: out 
of all the cultivators of Art and Beauty (for a moment we will 
imagine them as naive children actors in a School Drama),
one participant stands out. 
Among the simple hearted cheers of the relatives of the children 
actors and the kind audience, mesmerized by the goofy cuteness 
of the act, suddenly our eyes meet the cold steel of the 
unblinking stare of the big shot theatrical critic from the 
capital city,who accidently walked in on the little 
unprofessional show. Critic Death in the Kindergarten 
tragicomedy. In the case of Art, that critic is the Art History. 
The one that speaks with the epitaphic weight and cosmic 
accent, - Deus ex machina in the global amature hide and seek 
game show, Alpha of Diagnostics and Omega of Sentencing for the 
artists.How one artist can withstand the tremendous ruthless pressure of 
the Art Historical traditions, demands, expectations of its 
strict system of coordinates? Good question.
In my humble artistic practice I've tried to associate 
myself (artist) with the Art History itself as a metaphysical 
entity, as in a joke (or not a joke) about job interview in a 
Big Law Firm, where prospective employees were shown a picture 
of the mutilated shark victims, armed shark hunters and sharks, 
all swimming together, and the correct answer to the 
interviewer's question"Who do you associate yourself with on 
this picture?" was "With the sharks."
Low and behold, I've tried to dissolve myself in the Art 
History philosophically and metaphysically, becoming one with it 
in order to be able to to try to find Art History in me and me 
in the Art History, - akin the true story about a French writer 
Guy de Maupassant, who could not stand the look of the Eiffel 
Tower, which was the the tallest structure in the world at that 
moment, and was seen from any spot in Paris, 
but Maupassant would spend hours every evening in Eiffel Tower's 
restaurant and even would write his books there, and when 
asked "Why do you spend so much time in the Eiffel Tower if you 
hate it so much?", the writer answered :"Because it is the only 
place in Paris from which I don't see the Eiffel Tower." 
Thus my self inflicted Art History syndrome ensued. 
Thus "Happy Art History!" theme started. 
I've opened the brackets of chronological (recorded) Art History 
from Cave Art to the imaginary first Art Gallery that will be opened on the other planet. I formulated as the organising 
principle of my Art Historical approach the unseeming tandem
of symbiotic mutualism of the two Slavic Artists Malevich and Warhol, 
two most significant and influential artists of the 20th century. 
Malevich took Art to the fantastic, uber beyond the earthly 
boundaries, lofty abyss of the timeless, other world dimension, 
and another Slavic genius Warhol documented Art as a commodity 
item, price tagged, mass produced,gift wrapped, advertised, 
hyped and ready for the mass consumption by the elite masses. 
One artist is mister Deep Beyond, the other one is mister Deeply 
Superficial.Interdependent co-evolution. The enigma of the 
Slavic soul. Cheers! 
Drunk with the spiritual euphoria, my legs wobbly from the 
epiphanic bravura, I trudged through the nooks and crannies of 
the Art History,gleaning the primordial impulses of the Cave 
Art, Children Art, ritualistic art practices, shadows of the 
smoke in the mirrors of the conceptual art 
(shiny detail: while I was at it, I lost my teeth to poverty, 
I worn the falling apart fake leather boots for several years, 
while teaching Art to psychiatric patients, criminals, in 
elderly homes, to deaf and blind, in New York public schools, 
dumping couple hundred of my art works on the street due to the 
unresolved financial and social obstacles of being an immigrant 
artist, living in a monastery for two years and painting icons, 
some of which were canonised by the official Church. The enigma 
of the Russian immigrant artist in the West. Cheers!). 
Overdosed on the Art History vaccine, I've discovered some Jungian
archetypes in Art: 1)Desire to create (most artists on the planet are children,-
overlooked Art Historical fact, it is much later when many of 
them grow up to be all calculating unimaginative a-holes.
2)Desire to copy, fake, buy or steal something famous.
 3) Desire to be famous . Over the years of the conceptual dissolving 
myself in the Art History and the Art History dissolving in me,I 
worked out several principal points for the creation of 
the "Happy Art History!" body of work:
1)Art History is a first and final commissioner and customer of 
the artist.
2)Art History is a merciless elite scientific puzzle, where 
artist should find or create a personal nook or niche.
3)Heart Art History, or Art History will Middle Finger You.
4)All famous artists started as unknown.
5)The work of Art is priceless, but you need to sell it 
for as much as possible.
6)(optional)if you are an artist from Siberia, make a t-shirt 
with the bigstatement "YES, IT IS COLD IN SIBERIA." to prevent 
the inevitable question.
7)"Unknown Artist" can be the the term applied to the Creator,
or in some translations g. o. d.
8) Happy Art History!Boris Zoubkous. New York. 2012