Vasily Kravchuk
Vasily began publishing photo chronicles in 1985 after a trip to Dagestan. His first exhibition featured photographs from Lviv and Moscow. At the same time, he created a series of portraits of 1980s artists, including representatives of "socart," many of whom later emigrated. Francis Bacon's painting had a strong influence on Kravchuk's art.
His main works from 1992–1993 are large compositions consisting of 8-20 large photographs, including several portraits. Since 1994, he has been creating collages from photographs, texts, and drawings. For these photographs, he made abstract objects in the form of small sculptures. His most famous works from 1995–1996 are interpretations of well-known sculptures from VDNKh.
In addition, he created an autobiographical book made from his photographs, drawings, and texts by various authors. Vasily Kravchuk kept meticulous records of his works. His archive of contact sheets occupies seven volumes.
Black and white photo
61 х 53,5 см
Black and white photo
61 х 53,5 см
Black and white photo
61 х 53,5 см
Black and white photo
61 х 53,5 см
Black and white photo
61 х 53,5 см
Black and white photo
61 х 53,5 см
Black and white photo
61 х 53,5 см
Black and white photo
61 х 53,5 см
Black and white photo
61 х 53,5 см
Vasily Kravchuk
From the "Super Enlargement" series, 1991
Black and white photo
61 х 53,5 см
Vasily Kravchuk is a Russian artist and photographer. After graduating from the Moscow State Institute of Culture, he worked as a photographer in scientific institutions and publishing houses. He has exhibited since the early 1990s, including jointly with his wife, artist Natalia Turnova. In the black-and-white portraits from the series "Super Enlargement" (1991), Kravchuk used the close-up technique. The faces of the subjects fill the entire frame, and the image is reduced to mimetic and textural fragments. The artist experimented with processing negatives—immersing them in acid, scratching, and deforming. As a result, the developed images acquired a distinctive texture, with noise and lines. These photographs are not about specific characters but rather about the spirit of the time. In them, the boundary between realism and abstraction is erased, leaving only the imprint of the era's heroes.
The artist's works are held in the collections of Ovcharenko, the European Trade Bank, Herbrand, Zimmer, Wilcox, Bartoleit, Eichstaedt, Jenstrup, and the "Lefkovo" collection.
From the series "Super-Magnification", 1991
Black and white photo
61 х 53,5 см
Vasily Kravchuk is a Russian artist and photographer. After graduating from the Moscow State Institute of Culture, he worked as a photographer in scientific institutions and publishing houses. He has exhibited since the early 1990s, including jointly with his wife, artist Natalia Turnova. In the black-and-white portraits from the series "Super Enlargement" (1991), Kravchuk used the close-up technique. The faces of the subjects fill the entire frame, and the image is reduced to mimetic and textural fragments. The artist experimented with processing negatives—immersing them in acid, scratching, and deforming. As a result, the developed images acquired a distinctive texture, with noise and lines. These photographs are not about specific characters but rather about the spirit of the time. In them, the boundary between realism and abstraction is erased, leaving only the imprint of the era's heroes.
The artist's works are part of the collections of Ovcharenko, the European Trade Bank, Herbrand, Zimmer, Wilcox, Bartoleit, Eichstaedt, Jenstrup, and the "Lefkovo" collection. The European Trade Bank is known to hold significant art collections among other corporate and private collections mentioned here, indicating the artist’s presence in notable and diverse collections.
From the series "Super-Magnification", 1991
Black and white photo
61 х 53,5 см
In the black-and-white portraits from the series "Super Enlargement" (1991), Kravchuk used the close-up technique. The faces of the subjects fill the entire frame, and the image is reduced to mimetic and textural fragments. The artist experimented with processing negatives—immersing them in acid, scratching, and deforming. As a result, the developed images acquired a distinctive texture, with noise and lines. These photographs are not about specific characters but rather about the spirit of the time. In them, the boundary between realism and abstraction is erased, leaving only the imprint of the era's heroes.
The artist's works are part of the collections of Ovcharenko, the European Trade Bank, Herbrand, Zimmer, Wilcox, Bartoleit, Eichstaedt, Jenstrup, and the "Lefkovo" collection. The European Trade Bank is known to hold significant art collections among other corporate and private collections mentioned here, indicating the artist’s presence in notable and diverse collections.
From the series "Super-Magnification", 1991
Black and white photo
61 х 53,5 см
In the black-and-white portraits from the series "Super Enlargement" (1991), Kravchuk used the close-up technique. The faces of the subjects fill the entire frame, and the image is reduced to mimetic and textural fragments. The artist experimented with processing negatives—immersing them in acid, scratching, and deforming. As a result, the developed images acquired a distinctive texture, with noise and lines. These photographs are not about specific characters but rather about the spirit of the time. In them, the boundary between realism and abstraction is erased, leaving only the imprint of the era's heroes.
The artist's works are part of the collections of Ovcharenko, the European Trade Bank, Herbrand, Zimmer, Wilcox, Bartoleit, Eichstaedt, Jenstrup, and the "Lefkovo" collection. The European Trade Bank is known to hold significant art collections among other corporate and private collections mentioned here, indicating the artist’s presence in notable and diverse collections.
From the series "Super-Magnification", 1991
Black and white photo
61 х 53,5 см
In the black-and-white portraits from the series "Super Enlargement" (1991), Kravchuk used the close-up technique. The faces of the subjects fill the entire frame, and the image is reduced to mimetic and textural fragments. The artist experimented with processing negatives—immersing them in acid, scratching, and deforming. As a result, the developed images acquired a distinctive texture, with noise and lines. These photographs are not about specific characters but rather about the spirit of the time. In them, the boundary between realism and abstraction is erased, leaving only the imprint of the era's heroes.
The artist's works are part of the collections of Ovcharenko, the European Trade Bank, Herbrand, Zimmer, Wilcox, Bartoleit, Eichstaedt, Jenstrup, and the "Lefkovo" collection. The European Trade Bank is known to hold significant art collections among other corporate and private collections mentioned here, indicating the artist’s presence in notable and diverse collections.
Vasily Kravchuk
From the series "Super-Magnification", 1991
Black and white photo
61 х 53,5 см
In the black-and-white portraits from the series "Super Enlargement" (1991), Kravchuk used the close-up technique. The faces of the subjects fill the entire frame, and the image is reduced to mimetic and textural fragments. The artist experimented with processing negatives—immersing them in acid, scratching, and deforming. As a result, the developed images acquired a distinctive texture, with noise and lines. These photographs are not about specific characters but rather about the spirit of the time. In them, the boundary between realism and abstraction is erased, leaving only the imprint of the era's heroes.
The artist's works are part of the collections of Ovcharenko, the European Trade Bank, Herbrand, Zimmer, Wilcox, Bartoleit, Eichstaedt, Jenstrup, and the "Lefkovo" collection. The European Trade Bank is known to hold significant art collections among other corporate and private collections mentioned here, indicating the artist’s presence in notable and diverse collections.
From the series "Super-Magnification", 1991
Black and white photo
61 х 53,5 см
In the black-and-white portraits from the series "Super Enlargement" (1991), Kravchuk used the close-up technique. The faces of the subjects fill the entire frame, and the image is reduced to mimetic and textural fragments. The artist experimented with processing negatives—immersing them in acid, scratching, and deforming. As a result, the developed images acquired a distinctive texture, with noise and lines. These photographs are not about specific characters but rather about the spirit of the time. In them, the boundary between realism and abstraction is erased, leaving only the imprint of the era's heroes.
The artist's works are part of the collections of Ovcharenko, the European Trade Bank, Herbrand, Zimmer, Wilcox, Bartoleit, Eichstaedt, Jenstrup, and the "Lefkovo" collection. The European Trade Bank is known to hold significant art collections among other corporate and private collections mentioned here, indicating the artist’s presence in notable and diverse collections.
Из серии "Сверхувеличение", 1991
Ч-б фото
61 х 53,5 см
In the black-and-white portraits from the series "Super Enlargement" (1991), Kravchuk used the close-up technique. The faces of the subjects fill the entire frame, and the image is reduced to mimetic and textural fragments. The artist experimented with processing negatives—immersing them in acid, scratching, and deforming. As a result, the developed images acquired a distinctive texture, with noise and lines. These photographs are not about specific characters but rather about the spirit of the time. In them, the boundary between realism and abstraction is erased, leaving only the imprint of the era's heroes.
Произведения художника находятся в коллекциях: Овчаренко, Европейский Торговый банк, Herbrand, Zimmer, Wilcox, Bartoleit, Eichstaedt, Jenstrup, коллекция «Лефково».
From the series "Super-Magnification", 1991
Black and white photo
61 х 53,5 см
In the black-and-white portraits from the series "Super Enlargement" (1991), Kravchuk used the close-up technique. The faces of the subjects fill the entire frame, and the image is reduced to mimetic and textural fragments. The artist experimented with processing negatives—immersing them in acid, scratching, and deforming. As a result, the developed images acquired a distinctive texture, with noise and lines. These photographs are not about specific characters but rather about the spirit of the time. In them, the boundary between realism and abstraction is erased, leaving only the imprint of the era's heroes.
The artist's works are part of the collections of Ovcharenko, the European Trade Bank, Herbrand, Zimmer, Wilcox, Bartoleit, Eichstaedt, Jenstrup, and the "Lefkovo" collection. The European Trade Bank is known to hold significant art collections among other corporate and private collections mentioned here, indicating the artist’s presence in notable and diverse collections.