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1969 Large Exhibition Prints

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Parade on Red Square, Moscow, May 1,1926, Gelatin silver print mounted on board

Parade on Red Square, Moscow, May 1,1926

Gelatin silver print mounted on board

Titled and dated in pencil in Russian on verso

Photographer's stamp and signature in pencil on verso

17 x 23 in. (43.4 x 58.4 cm) 

 

This photograph is among the the earliest visual records of organized May 1st International Worker’s Day celebrations at the Kremlin’s Red Square. Between 1926 and 1927, under the auspices of the newly-formed Central Celebration Comission, a tradition of elaborate mass-festivals and military parades was established that demonstrated mass-weaponry, military aviation and the might of the Red Army (see Malte Rolf, Soviet Mass Festivals, 1917-1991. University of Pittsburgh Press, 2013).

First Tractor, 1926, Gelatin silver print mounted on board

First Tractor, 1926

Gelatin silver print mounted on board

Title, date and photographer’s name in pencil in Russian on verso.

Photographer’s stamp on verso

23 x 19 in. (58.9 x 48.1 cm)

 

A young boy sits triumphantly on his village’s first tractor as if riding a horse. The photograph was published in newspapers along with the caption “The Iron Steed Has Replaced the Peasant’s Horse.” For scholar Valery Stigneev, First Tractor is notable for expressing the convergence of traditional and new; and underscoring how rural communities adapted 20s modernist innovations to the pace of their own lives.

Pioneers and Homeless Children, May 1, Moscow, 1927, Gelatin silver print mounted on board

Pioneers and Homeless Children, May 1, Moscow, 1927

Gelatin silver print mounted on board

Title, date and photographer's name in pencil in Russian on verso.

Photographer's stamp on verso

18 1/2 x 23 in. (47 x 58.5 cm) 

 

Young children march down Moscow's Tverskaia Street on May 1st. Some of the children are homeless and about to be initiated as Young Pioneers. The Young Pioneers was a state-sponsored youth organization dedicated to promoting socialist ethics. 

Scarecrow, Leningrad, 1927, Gelatin silver print mounted on board

Scarecrow, Leningrad, 1927

Gelatin silver print mounted on board

Title, date and photographer's name in pencil in Russia on verso

Photographer's stamp and wife's signature in pencil on verso

23 3/4 x 16 7/16 in. (59.3 x 41.8 cm) 

 

This 1909 sculpture of Tsar Alexander III was the last monument of Imperial St. Petersburg. The poet Demean Bedny would later add a disparaging epitaph on the pedestal, from which this photograph gets its title: 

 

My son and my father were executed in my lifetime

While I reaped the fate of posthumous ignominy, 

I stand here as a cast-iron scarecrow for the country

That threw off the yoke of autocracy forever

The First Portable Film Projector, 1927, Gelatin silver print mounted on board

The First Portable Film Projector, 1927

Gelatin silver print mounted on board

Titled and dated in pencil in Russian on verso

Photographer’s stamp and name in pencil on verso

23 1/4 x 19 in. (59 x 48.4 cm)

 

Pictured is the first mobile film projection unit, which brought films and newsreels to remote areas and villages. A collision of traditional and modern life, the film projector was transported to the village on a horse-drawn cart.

Tea Drinking in the Village of Ramenskoye, 1928, Gelatin silver print mounted on board

Tea Drinking in the Village of Ramenskoye, 1928

Gelatin silver print mounted on board

Title, date and photographer's name in pencil in Russian on verso

Artist's stamp on verso

18 1/2 x 23 in. (46.9 x 58.5 cm) 

 

Rural workers share a copy of the Bednota (in Russian, Poor folk) newspaper, a publication that Ignatovich extolled for introducing news, and modernity to rural daily life. Ignatovich took this photograph, and others, in the Ramenskoe province for Bednota between 1927-28.

In the Red Corner, 1928, Gelatin silver print mounted on board

In the Red Corner, 1928

Gelatin silver print mounted on board

Title, date and photographer's name in pencil in Russian on verso

Photographer's stamp and wife's signature in pencil on verso

22 3/4 x 18 5/8 in. (58 x 47.2 cm) 

 

Red corners were established in the early 1920s and were devoted to activities like promoting culture, teaching literacy, reading newspapers aloud, and coordinating political discussions.

Lunch in the Commune, 1928, Gelatin silver print mounted on board

Lunch in the Commune, 1928

Gelatin silver print mounted on board

Titled and dated in pencil in Russian on verso

Photographer’s stamp and name in pencil on verso

17 x 23 1/4 in. (43.2 x 59 cm) 

 

This unstaged photograph of Soviet people sharing a meal in a communal dining hall reflects the artist’s commitment in the 1920s to authentically depicting life on the commune and on construction sites. The photograph emphasizes the arrival of radio technology to remote villages: in the foreground, a young woman listens attentively to the newly-installed radio speaker.

Fellow Countrymen, 1928, Gelatin silver print mounted on board

Fellow Countrymen, 1928

Gelatin silver print mounted on board
Title, date and photographer's name in pencil in Russian on verso

Photographer's stamp and wife's signature in pencil on verso

23 x 17 3/4 in. (58.2 x 45 cm) 

Vladimir Mayakovsky on Red Square, May 1, 1928, Gelatin silver print mounted on board

Vladimir Mayakovsky on Red Square, May 1, 1928

Gelatin silver print mounted on board

Title, date and wife's signature in pencil in Russian on verso

Photographer's stamp on verso

22 1/8  x 18 3/16 in. (56.2 x 46.2 cm)

 

In 1913, a year between two major Russian revolutions, Russian poet Vladimir Mayakovsky famously wrote to “Throw Pushkin, Dostoevsky, Tolstoy, etc., etc., overboard from the Ship of Modernity” in his poem “A Slap in the Face of Public Taste.” Mayakovsky was a poet, screenwriter, film actor, artist, and editor for the Constructivist journal New Left Front of Arts. Ignatovich befriended the poet in the early 1920s while working at the Leningrad magazine Smekhach.

 

With a Board, 1929, Gelatin silver print mounted on board

With a Board, 1929

Gelatin silver print mounted on board
Title and date in pencil in Russian on verso.

Photographer's stamp, signature and wife's signature in pencil on verso

23 5/8 x 18 1/2 in. (60 x 47 cm) 

 

A worker skillfully balances on lumber while carrying another piece of wood over his shoulder. Leading avant-garde artist El Lissitzky incorporated With a Board into his preliminary designs for the 1929 series of books entitled Neus Bauen in Der Welt that represented the architectural fantasies of America, France and Russia.

At a Construction Site, 1929, Gelatin silver print mounted on board

At a Construction Site, 1929

Gelatin silver print mounted on board
Title, date and photographer's name in pencil in Russian on verso

Photographer's stamp and wife's signature in pencil on verso

17 11/16 x 23 1/4 in.(45 x 58.9 cm) 

 

A celebration of the socialist ideal of camaraderie, At a Construction Site depicts workers building a new roof on a building. The photograph’s composition suggests that Ignatovich is also participating in the labor — and echoes the popular Constructivist idea that photographers should not only document the changes to everyday life, but work to actively shape life through their craft.

Monument to Ferdinand Lassalle

Monument to Ferdinand Lassalle, Leningrad, 1930
Gelatin silver print mounted on board
Title and date in Russian in pencil on verso
Photographer's stamp and name in pencil on verso
23 5/8 x 16 1/2 in. (60 x 42 cm)


With its extreme low perspective, flattened form, and sharp angles, Boris Ignatovich’s photograph Monument to Ferdinand Lassalle resembles a photomontage and epitomizes the strong geometric style of Constructivism. Ignatovich’s subject is a granite monument to Prussian-German philosopher and socialist activist Ferdinand Lassalle, located on Nevsky Prospect in Leningrad and created by the sculptor V. A. Sinaysky (1898-1968); today, the monument can be found in the State Museum of Urban Sculpture. Behind the statue is a tall Italianate clocktower designed by the sculptor Giacomo Ferrari and completed in 1804 as part of the City Duma. The tower still stands today. With its neoclassical columns and ornamental moulding, it appears in this photograph as a striking reminder of the neoclassical architecture that was soon to be overtaken by Stalinist Empire buildings.
 

At the Hermitage, Leningrad, 1930, Gelatin silver print mounted on board

At the Hermitage, Leningrad, 1930

Gelatin silver print mounted on board

Title, date and photographer's name in pencil in Russian on verso

Photographer's stamp on verso

30 x 42 in. (76.2 x 106.7 cm) 

 

At the Hermitage is perhaps Ignatovich’s most iconic photograph, and demonstrates an exceptionally bold and complex spatial composition. The pictured foot is part of a 5 meter tall atlas figure by artist Alexander Terebenev at the New Hermitage Museum in St Petersburg. The atlas’s toes however appear truly titanic in comparison to the figures passing by, an illusion Ignatovich created by experimenting with perspective. Ignatovich further demonstrates his mastery of 3-D space by including The Hermitage and St. Isaac’s Cathedral in the same frame as the big foot.

Strastnoy Boulevard, Moscow, 1931, Gelatin silver print mounted on board

Strastnoy Boulevard, Moscow, 1931

Gelatin silver print mounted on board

Title and 1938 date in pencil in Russian on verso

Photographer's stamp, signature, and wife's signature in pencil on verso

21 5/8 x 15 5/16 in. (55 x 39 cm) 

 

Ignatovich juxtaposes socialist slogans with Romanov-era architecture to highlight the collision of pre- and post- revolutionary worldviews. The photograph debated in a 1931 issue of Proletarksoe Foto for not offering viewers an easily-digestible, straight-forward message — is emblematic of Ignatovich’s energetic spirit of experimentation.

 

St. Isaac’s Cathedral, Leningrad, 1931, Gelatin silver print mounted on board

St. Isaac’s Cathedral, Leningrad, 1931

Gelatin silver print mounted on board

Title, 1929 date and photographer's name in pencil in Russian on verso

Photographer's stamp and wife's signature in pencil on verso

20 x 23 5/8 in. (50.6 x 60 cm) 

 

One of the earliest aerial photographs of Leningrad, Ignatovich captured this photograph from a R-5 bomber plane under stormy skies. The pilot had to hover almost in place, making banked curves just forty meters from the cross atop the cathedral. a sat with his back to the pilot and had difficulty holding onto the camera. The photograph was published in Illustrirovannaya Rabochaya Gazeta, and related aerial shots were published in USSR in Construction.

 

Boris Pasternak and Korney Chukovsky, Moscow, 1934, Gelatin silver print mounted on board

Boris Pasternak and Korney Chukovsky, Moscow, 1934

Gelatin silver print mounted on board

Title, 1935 date, photographer's signature and wife's signature on verso

Photographer's stamp on verso

16 x 23 in. (41.1 x 58.9 cm) 

 

The writers Boris Pasternak and Korney Chukovsky attend the First Inaugural Soviet Writer’s Congress. Established two years prior, the Writer’s Union abolished all independent literary organizations in the USSR. It also granted the two writers neighboring homes in the town of Peredelniko where Pasternak wrote Doctor Zhivago.

Shower, 1935, Gelatin silver print mounted on board

Shower, 1935

Gelatin silver print mounted on board

Title, date and photographer's name in pencil in Russian on verso

Photographer's stamp on verso

23 5/16 x 16 5/8 in. (59.1 x 42.2 cm)

 

Young athletes enjoy a therapeutic water massage. In the foreground, a muscular youth sprays water from a Charcot Shower. Shower’s composition inspired Alexander Deyneka to recreate the scene in a painting. As writes Margarita Tupitsyn, “Later [Deyneka] produced a work which he himself considered to be a failure in comparison to the original photograph.”

 

Galya Mel'nikova, 1937, Gelatin silver print mounted on board

Galya Mel'nikova, 1937

Gelatin silver print mounted on board

Title and date in pencil in Russian on verso

Photographer's stamp on verso

23 7/16 x 17 1/4 in. (59.5 x 43.9 cm) 

 

Pictured is Kuban Cossack Galya Mel’nikova who was awarded a gold watch for winning equestrian competitions. Scholar Valery Stigneev has recognized the especially rich detail and expressivity found in the artist’s portraits, adding that Ignatovich sometimes modified his camera to achieve a more shallow depth of field.

In the Sublunary World

In the Sublunary World, Gorky Drama Theater, Rostov-On-Don, 1937
Gelatin silver print mounted on board
Title and date in pencil in Russian on verso
Photographer's stamp on verso
23 x 12 1/2 in. (58.9 x 31.7 cm) 


Ignatovich’s 1937 photograph shows one of the striking glass-fronted arms of the Maxim Gorky Drama Theater in Rostov-on-Don, which had been completed just two years earlier and was designed by the prominent architects Vladimir Schuko and Vladimir Gelfreykh. As journalist Maria Pogrebnyak writes in The Calvert Journal, the theatre “is a powerful manifestation of the 20th-century avant-garde, and is widely considered one of the greatest masterpieces of the Constructivist style, hailed as the jewel in the crown of Soviet architecture by Le Corbusier and Oscar Niemeyer.” The architects famously designed the building around the shape of a Soviet tractor, with long arms along either side and an elevated central structure. Ignatovich, however, chose not to capture a conventional shot of the full building, but instead to focus on a single arm, employing a vertical composition to emphasize the height of the building and drawing the viewer’s attention to the bold rectangular shapes of the building and the curve of one of the driveways, where the nose of a descending car is visible.

Ignatovich's title, In the Sublunary World, playfully suggests that the streetlamp above resembles the moon, and communicates the futuristic and almost cosmic feeling engendered by the scene of a young family dressed in white in front of the innovative construction.

Youth, 1937, Gelatin silver print mounted on board

Youth, 1937

Gelatin silver print mounted on board
Title, date and photographer's name in pencil in Russian on verso

Photographer's stamp on verso

28 7/8 x 39 1/2 in. (73.4 x 100.2 cm) 

 

Among Ignatovich’s most beloved works of art, this photograph is a timeless celebration of the joy and energy of youth. The artist positioned his subjects in a triangle composition that successfully corresponds to the rounded shape of the camera lens, and the interaction of light and shadow give the photograph a warm vitality.

Molten Steel, Azovstal' Metallurgy Works, Mauripol', Ukraine, 1937

Molten Steel, Azovstal' Metallurgy Works

Mauripol', Ukraine, 1937

Gelatin silver print mounted on board

Title, 1938 date and photographer’s name in pencil in Russian on verso

Photographer’s stamp on verso

Image: 40 x 26 1/2 in. (101.6 x 67.3 cm)

 

Ignatovich captured the major industrial advancements in the Soviet Union through the 1920s and 1930s. The artist took this photograph at the Azovstal’ metallurgical complex in Maripol’, Ukraine. It was the USSR’s largest steel plant at the time. Molten Steel was featured in the July 1939, no. 14 issue of the Dutch magazine, Focus.

Pig-Iron Pouring, Azovstal Metallurgy Works, Mauripol', Ukraine, 1937

Pig-Iron Pouring, Azovstal Metallurgy Works

Mauripol', Ukraine, 1937
Gelatin silver print mounted on board

Title and 1938 date in pencil in Russian on verso

Photographer’s stamp, signature and wife’s signature in pencil on verso

15 7/16 x 22 7/16 in. (39.2 x 56.9 cm)

Motherhood, 1938, Gelatin silver print mounted on board

Motherhood, 1938

Gelatin silver print mounted on board

Title and date in pencil in Russian on verso

Photographer’s stamp, signature and wife’s signature in pencil on verso

18 1/2 x 23 1/4 in. (46.9 x 59 cm)

 

A master of light and form, Ignatovich creates a symmetry between colt’s black body and that of the white mare behind. The classicized aesthetic of motherhood is represented by animals and people alike.

Grapes, Georgia, 1938, Gelatin silver print mounted on board

Grapes, Georgia, 1938

Gelatin silver print mounted on board

Title and date in Russian in pencil on verso

Photographer’s stamp on verso

15 15/16 x 23 3/8 in. (40.5 x 59.3 cm)

 

A woman carries grapes over her shoulder on a collective farm in the village Kardanakhi in the Georgian wine-region Kakheti. A prime example of Socialist Realist photography, the artwork expresses the joys and rewards of communal labor.

The present collection of 25 large-scale gelatin silver prints by Boris Ignatovich (1899-1976), a luminary of Russian avant-garde photography, were made by the artist for his first major solo exhibition in April 1969, in honor of his 70th birthday. The exhibition, organized by the Union of Soviet Journalists and held at the Moscow Central House of Journalists featured 85 photographs from 1923 through 1963, every period of Ignatovich’s career. All of the large-scale photographs were printed by the artist in a size highly unusual for exhibitions at the time. This selection consists of photographs from the 1920s-1930s, the most experimental period in the artist’s career.

Biography

A great innovator and a seminal figure in Russian Constructivism, Boris Ignatovich (1899-1976) left an indelible mark on the evolution of early 20th-century Russian photography and photojournalism. “The Bolshevik revolution in Russia swept away the bourgeois order and the bourgeois aesthetic,” writes historian of Russian photography Valery Stigneev. “The builders of a new society needed their own language and idols. On this great, fast-moving wave of art rose Mayakovsky, Rodchenko, Eisenstein, Dziga Vertov, Aleksandr Deyneka, El Lissitzky, and others. More accurately, they made this Art. Boris Ignatovich made Photography... Ignatovich created a frame like a sculptor, shearing off anything superfluous, and bringing the image to life like a movie.”

Born in the city of Slutsk, in present-day Belarus, Ignatovich was a journalist before he became a photographer. In 1923, he began taking photographs, and by the end of the decade he had established himself as a leader in the field of photojournalism, bringing to the medium fresh perspectives and an energetic, stylistic approach. Ignatovich embraced the Constructivist experimentation permeating artistic circles in Moscow, and was largely responsible for bringing the relatively new medium of photography into the new avant-garde fold. Throughout the 1920s and 1930s, his photographs, photo-essays and aerial surveys were widely published both within and on the covers of periodicals such as Ogonyok, Sovetskoe Foto, Pravda, Soviet Architecture, Krasnaya Neva, and USSR in Construction. In 1929, Ignatovich worked alongside Aleksandr Rodchenko for the prominent vanguard photography journal Daesh, and published photographs in all fourteen issues.

In 1930, Ignatovich joined October, the avant-garde union of artists, architects, filmmakers, and photographers whose photography section was led by Rodchenko. Founded in 1928 with participation by Gustav Klutsis, Sergei Eisenstein, El Lissitzky, Varvara Stepanova, Alexander Deyneka, Diego Rivera, and others, October arose from the Constructivist tradition of industrial and applied arts, and explored new forms of artistic expression for a nascent Soviet culture. Members of October were inspired by Ignatovich’s photographs and incorporated them into both their personal work and their designs for various publications. Stepanova, for example, integrated Ignatovich’s photograph Red Army into her 1930 photomontage of the same name, which she published in the arts and politics magazine Za Rubezhom, and placed Ignatovich’s photographs alongside Rodchenko’s in her album From Merchant Moscow to Socialist Moscow (1931). In 1929, when El Lissitzky was commissioned to design covers for a series of books representing architectural fantasies of America, France, and Russia, he used Ignatovich’s photograph With A Board (1929) for his photomontage on the cover of the first volume, Russia: The Reconstruction of Architecture in the Soviet Union (Neues Bauen in der Welt). In 1931, when Rodchenko was expelled from October, Ignatovich took over as director of the photography section until party officials disbanded the group in 1932.

Like an architect, Ignatovich meticulously constructed his images and included only elements that he deemed necessary to convey meaning. His work is characterized by masterful expressions of light and shadow, as well as rigorous, geometric compositions. Some of his photographs, such as Monument to Ferdinand Lassalle (1930), even appear at first glance to be photomontages. In Control Lever, Dynamo Factory, Moscow (1930), Ignatovich focused his camera’s attention on the levers of the Russian-owned and operated Dynamo factory, arranging them in a rhythmic sequence within the frame of the image to evoke the rhythm not only of the machinery itself, but also of an efficient, ideal socialist society. Among his innovations were some of the first aerial photographs of Leningrad, captured from an R-5 bomber plane in 1931, as well as experimentations with cinematography and filmmaking; in 1930, he helped to produce one of the first sound films, Olympiad of Art.

Ignatovich participated in all major exhibitions on Soviet photography at the time, including Ten Years of Soviet Photography (1928) and The First All Union Exhibition of Art Photography (1937-1938), and exhibited abroad as early as 1929 at the seminal Film und Foto exhibition in Stuttgart, Germany. At the First October Exhibition in Gorky Park in Moscow in 1931, his photographs were displayed alongside Rodchenko’s. He declined an invitation to participate in the 1935 exhibition Masters of Soviet Photography, which was organized just a year after the First Soviet Writers Conference (1934) that enforced the policy of Socialist Realism across all art forms. His open criticism of the exhibition jury coincided with growing artistic censorship in the Soviet Union, while reflecting the photographer’s own integrity as an artist. Ignatovich remained faithful to photographic experimentation for the entirely of his career.

From the first day of involvement in World War II, Ignatovich worked as a military photographer, publishing photographs of the army for the journal Boevoe Znamia (Banner of War). He photographed on both the Eastern and Western Fronts, riding on horseback with the soldiers and reporting on both the military action of the war and the conditions and daily life in the trenches and encampments. He also photographed the signing of the Potsdam Declaration in 1945. After the war, he began experimenting with color photography, landscapes, and portraiture. He continued to work for Pravda and Ogonyok, and became a department head at the publishing house Iskusstvo (Art).

Ignatovich continued working as a photographer and exhibiting his work until his death in 1976. In 1969, in honor of his seventieth birthday, he was the subject of a solo exhibition at the Central House of Journalists in Moscow, organized by the Union of Soviet Journalists. Ignatovich printed eighty-five large-scale gelatin silver prints for the exhibition, which is preserved in its entirety and provides both a remarkable survey of the photographer’s decades-long career, as well as an unparalleled glimpse into the social, economic, cultural, and political reality of the Soviet Union during its formative years in the first half of the twentieth-century. Nailya Alexander Gallery represents the Boris Ignatovich Estate.

Selected Exhibitions

Solo and  Selected Group Exhibitions

1926

Photoreportage, Moscow Association of Photojournalists at the Print House, Moscow, USSR

1927

First photography exhibition, organized by ODSK (Obshchestvo druzei sovetskogo kino, the Society of the Friends of Soviet Cinema), Polytechnic museum, Moscow

1928

10 Years of Soviet Photography, organized by the State Academy of Artistic Sciences. Moscow and Leningrad, USSR

1929

Film und Foto. Deutscher Werkbund, International Werkbund exhibition in the New Exhibition Hall on Interim Theatre Square. Stuttgart. Germany

First October Exhibition, Gorky Park, Moscow, USSR

Exhibition of Art Photography, Vienna, Austria

1931

Exhibition of October Group, Print House, Moscow, USSR

October Photomontage Exhibition, Gorky Park, Moscow, USSR

1935

Exhibition of the Work of the Masters of Soviet Photography (Vystavka rabot masterov sovetskogo foto-iskusstva), Moscow, USSR

1937

20 Years of Soviet Photography (20 let sovetskogo fotografii), Moscow, USSR

First Photoart Exhibition in USSR, Moscow, Leningrad, Kiev, USSR

1938

Soviet Photoart. Museum of Culture named after Vitautas. Kaunas, Lithuania

Exhibition of Artistic Photography, The Central House of Writers, Moscow, USSR

1939

International Exhibition of Photography, UK

1945–1950

Participant in Exhibitions at the Grekov studio, Moscow, USSR

1946

Moscow Exhibition of Professional Photographers (Moskovskaia vystavka professionalnykh fotografov), Moscow, USSR

1947

Solo Exhibition in Prague, Czecho­slovakia

1948

Solo Exhibition, Central House of Art, Moscow, USSR

World War II in Photoart, Moscow, USSR

1949

Solo Exhibition in Belgrade, Yugoslavia

1953–1954

40 years of Photoart in USSR, Moscow, USSR

1955

Exhibition of Artistic Photography (Vystavka khudozhestvennoi fotografii), The Central House of Journalists, Moscow, USSR

1958

Men and the Sea, International Exhibition of Photography, Yugoslavia

1963

Participant in Exhibitions at the Photoclub Novator, Moscow, USSR

1967

Jubilee Exhibition My Moscow, Moscow, USSR

1969

Solo Exhibition at the Central Journalist Houser, Ignatovich 70's Anniversary, Moscow, USSR

Participant in Exhibitions at United Committee of book painters and graphics, Moscow, USSR

1972

Solo Exhibition in Vilnius, Lithuania

1975

30 Years of Great Victory, Moscow, USSR

60 Years of October Revolution, Moscow, USSR

1977

Solo Exhibition in Bratislava, Czechoslovakia

1981

Moscow­-Paris / Paris-Moscow. 1900–1930, Exhibition in the Pushkin Museum of Fine Arts, Moscow. USSR and The Centre Pompidou, Paris

1982

Solo Exhibition, 60 years of Education in the USSR, The Voronovskaya Gallery of Art, Moscow, USSR

Early Soviet Photographers, Museum of Modern Art, Oxford. UK

1986

Solo exhibition, The Mayakovsky State Museum, Moscow, USSR

1989

150 Years of Photography. Prague, Czechoslovakia, Moscow, USSR

Photomaster Boris Ignatovich. 1920–1930. Devoted to the 150 Years of Photo­graphy, Photocenter, Journalists Union of USSR Association. Moscow, USSR.

1990

20 Soviet Photographers, Amsterdam, Netherlands

1991

Soviet Photography 1920s and 1930s, Alex Lachmann Gallery, Cologne. Germany

1992

The Utopian Dream: Photography in Soviet Russia 1918–1939, Laurence Miller Gallery, New York, USA

The Great Utopia. The Russian Avant­ Garde 1915–1932, Solomon R.Guggenheim Museum, New York; State Tretyakov Gallery, Moscow; State Russian Museum, St. Petersburg; Schirn Kunsthalle Frankfurt

Photography in Russia 1840–1940, Museum of Modern Art, Oxford. UK

1993

Russian Avant ­Garde in 20th Century, Ludwig Museum, Cologne, Germany

1994

Boris Ignatovich. Pioneer of Soviet Photography, Alex Lachmann Gallery, Cologne, Germany

Photo Master Boris Ignatovich, Moscow Research Institute of Fine Art History, Moscow, Russia

1996

Moscow–Berlin. 1900–1950, The Pushkin Museum of Fine Arts, Moscow, Russia - Berlin, Germany

1997

History of Moscow. Russian and Foreign Photographers, Moscow, Russia

Photo­relay race from Rodchenko up to now, Moscow, Russia

1999

Boris Ignatovich. 100 ­Years of the Photo­ Master. Moscow Photography House, Moscow, Russia

Red Square. 20th Century, Polytechnical museum, Moscow, Russia

2000

Classics of Soviet Photography, Central House of Artists, Moscow, Russia

Propaganda & Dreams. Photographing the 1930s in the USA and USSR, The Corcoran Gallery of Art Washington, International Center of Photography, New York, The Pushkin Museum of Fine Arts, Moscow

2001

Red Square. The Historical State Museum, Moscow, Russia

2002

Solo exhibition "Boris Ignatovich, Classic of the National Photography, 1927-1963" devoted to the 100th Anniversary, The Pushkin Museum of Fine Arts, Moscow, Russia

Idea Photographic: After Modernism, Museum of Fine Arts, Santa Fe, New Mexico, USA

2003

Boris Ignatovich. Unknown Masterpieces, Center of Photography behalf

of the Lumiere brothers, Moscow, Russia

Seasons of Russian Photography, Palazzo Arese Borromeo, Milan, Italy

Solo exhibition "Boris Ignatovich”, Imago Fotokunst, Berlin, Germany.

Moscow: City, Spectacle, Capital of Photography. Exhibition of 20th-century photographs of Moscow, Columbia University's Miriam and Ira D. Wallach Art Gallery, USA

Russische Tafelrunde Russisches Haus der Wissenschaft und Kultur, Berlin, Germany.

 

2004

Moscow–Berlin. 1950-2000. Half a century in photographs. The Historical State Museum, Moscow, Russia

Photorelay race. From Rodchenko and up to now, Moscow House of Photography, Moscow, Russia

Pioneers of Soviet Photography IV, Howard Schickler Gallery, NY, USA.

Sowjetische Fotografie der 1920er und 1930er Jahre, Von Piktoralismus und Modernismus zum Sozialistischen Realismus, Fotomuseum Winterthur, Switzerland

Fotografie der Russischen Avantgarde aus der Sammlung Ludwig - Alexander Rodtschenko und Zeitgenossen, Suermondt-Ludwig-Museum, Aachen, Germany.

2006

Solo exhibition “Boris Ignatovich. 30 years from the date of death”, Photounion Gallery, Moscow, Russia

Solo exhibition Kunst im Auftrag, Boris Igna­to­witsch, Fotografien von 1927 bis 1946, Deutsch­Russisches Museum Berlin­Karlshorst, Berlin, Germany

The Soviet photomontage - 1917-1953, Multimedia Art Museum, Paris, France

2008

Perspective Rethought: Russian Constructivist Photography, Spencer Museum of Art, University of Kansas, USA

Solo exhibition Boris Ignatovich, Rachmaninov Garden Gallery, St. Petersburg, Russia

Art features Soviet Art between Trotsky and Stalin, 1926-1936, Moscow Museum of Modern Art, Moscow, Russia

2009

Solo exhibition Boris Ignatovich. Selected works. 110­ years of the Photomaster and 170 Years of Photography, Photocenter, Journalists Union of USSR Association, Moscow, Russia

European & Russian Photomontage, 1920–1940. UBU Gallery, New York, USA

Politische Bilder, Sowjetische Fotografien 1918-1941. Museum Ludwig. Köln, Germany.

2011

Solo exhibition Boris Ignatovitch: Platonov's Time, Multimedia Art Museum/Moscow House of Photography, Voronezh, Samara, Russia

The Life and Death of Buildings, Princeton University Art Museum, NJ, USA

Epoch of Optimism. Art and propaganda in Soviet photography in the 1920-1940s, State Museum and Exhibition Centre for Photography ROSPHOTO, Saint-Petersburg, Russia

Photography as Propaganda: Politics&The Utopian Dream, Lumière Fine Art Photography Gallery, Atlanta, USA

Land. City. Real. Imagined, Diemar/Noble Photography Gallery, London, UK

2012

Russia, XX century in photographs, 1918-1940, Multimedia Art Museum, Moscow/Moscow House of Photography, Moscow, Russia

A New Vision: Modernist Photography, Currier Museum of Art, Manchester, New Hampshire, USA

2013

Soviet Photography, Rosphoto, State Museum and Exhibition Centre for Photography. Saint-Petersburg, Russia

Paris Photo, The Grand Palais, France. Exhibited by: Nailya Alexander Gallery, NY, USA

Photography and History in the USSR, 1920-1940,100 Masterpieces from the Collection at Regali, Noorderlicht Photo Gallery, The Netherlands

2014

XVII Encuentros Abiertos, Festival de la Luz 2014, Fundación Luz Austral, Buenos Aires, Argentina.

2015

PROzavod, The Lumiere Brothers Center for Photography, Moscow, Russia.

Wir müssen den Schleier von unseren Augen reißen, Kunstmuseum Bochum, Bochum, Germany.

Soviet Photo,The Lumiere Brothers Center for Photography, Moscow, Russia.

Military photographers dedication. Territory Victory, Multimedia Art Museum, Moscow/Moscow House of Photography, Moscow, Russia

Fotofever Paris 2015, Сarrousel du Louvre Paris, France

Soviet Photography: 1920s-1930s, Nailya Alexander Gallery, New York, USA

The Power of Pictures: Early Soviet Photography, Early Soviet Film, Jewish Museum, New York, USA

2016

Man at work, Deutsches Technikmuseum, Berlin, Germany.

The Kiss, The Lumiere Brothers Center for Photography, Moscow, Russia.

Modernists: Selections from the European Collection, Art Gallery of New South Wales, Sydney, Austrailia

2017

Revolution: Russian Art 1917–1932. Royal Academy of Arts, Burlington House, Piccadilly, London, UK

15th Anniversary Exhibition, Rosphoto, St. Petersburg, Russia

Russian Photography After the Revolution, Nailya Alexander Gallery, New York

Paris Photo, The Grand Palais, France, Stand A 30, Nailya Alexander Gallery

Revolyutsiia! Demonstratsia! Soviet Art Put to the Test, The Art Institute of Chicago

2018

Boris Ignatovich: Master of Russian Avant-garde Photography, first solo exhibition in New York, Nailya Alexander Gallery

 

COLLECTIONS

Pushkin Museum of Fine Arts. Moscow, Russia

Museum Ludwig. Sammlung Ludwig, Aachen. Cologne, Germany

Art Institute of Chicago. Illinois, USA

Museum of Fine Arts, Houston, Texas, USA

Museum of Fine Arts, Boston, MA, USA

Harry Ransom Center, Austin, TX, USA

Museum Fokwang Photographic Collection, Essen, Germany

MAST, Bologna, Italy

State Museum and Exhibition Centre for Photography ROSPHOTO. Saint-Petersburg, Russia

The Currier Museum of Art. Manchester, New Hampshire, USA

Spencer Museum of Art/The University of Kansas. Lawrence, Kansas, USA

Pérez Art Museum Miami (PAMM). Miami, Florida, USA

Richard and Ronay Menschel Library/Collection. Rochester, New York, USA

Princeton University Art Museum. Princeton, New Jersey, USA

Multimedia Art Museum, Moscow/Moscow House of Photography. Russia

Richard And Ellen Sandor Art Foundation/Family Collection. Chicago, Illinois, USA

Alex Lachman Collection, Cologne, Germany

National Gallery of Canada, Ottawa, Canada

Art Gallery of New South Wales. Sydney, Australia

Zimmerli Art Museum, Rutgers University, New Brunswick, NJ, USA

Nailya Alexander Gallery, New York, USA

Estate of Boris Ignatovich, Moscow, Russia