The communities have a sui generis cultural expression, which often merges with the mainstream, but is divergent in equal part. We may discover that artists like the Egyptian/Armenian Hakob Hakobian (1923-2013) and Minas Avetisyan (1928-75) deserve as prominent place in the Armenian art corpus as Karsh and Gorky
Armenian art has historically been overlooked, and several factors contribute to this oversight. One significant aspect is its association with a unique aesthetic that intertwines Caucasian and Russian icon art, offering a distinctive visual language that diverges from mainstream Western European art. The particular nature of Armenian Surrealism further adds to its overlooked status, representing a distinct artistic movement that has not received due recognition.
Furthermore, the global dispersion of Armenian artists, originating from various corners of the world, has contributed to the marginalization of Armenian art on the global stage, as it competes with and, at times, loses prominence to the art of other countries.
The evolution of Armenian Art from Modern to its contemporary practices deserves to be put in the context of the more recent developments in global contemporary art because of its distinctiveness and particular qualities setting it apart from mainstream Western European Modernism.
Mariam Aslamasyan ( 1907-2006)
1932
A single union of artists was established in Yerevan in 1932 by People’s Artist of the USSR, sculptor,founder- president Ara Sargsyan in a period of purges, which also saw the rise of apparatchiks and a brief surge in hairenadartsner (repatriates).
1972
In 1972 Soviet Armenia constructed its first Modern Art Museum (Modern Art Museum of Armenia) It became the centrifugal force of the Armenian art world. The first show exhibited the works of Armenian artists from the 1960s, but the institution expanded to include artists from later generations.
Image is Courtesy of Modern Art Museum’ s archive