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"Neighbor's Baby" by painter Mikhail Gubin, which was named Best in Show at Silvermine Guild Arts
center's 50th Anniversary Art of the Northeast USA Show is an emphatic figurative works aspiring to monumentality"
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| William Zimmer |
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| The New York Times, Sunday, June 6, 1999 |
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"I look for a lot of things when I jury an exhibition. I look for energy and excitement.
That's what makes a work of art survive. I like works of art that create a dialogue that
capture you and won't release you. I think you experience art with your gut, not your head".
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| Allan Stone |
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| Allan Stone Gallery Catalogue Statement of Silvermine Guild Arts Center's 50th Anniversary Art of the Northeast USA Show, 1999 |
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Stone was high on his Best in Show pick, "Neighbor's Baby", an oil painting by Mikhail Gubin.
"It has a lot of passion, a lot of vibrations for me," Stone said. "The mystery makes the magic..."
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| Betty Tyler |
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| The Hour, Thursday, May 6, 1999 |
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"Mikhail Gubin uses the universal elements of art to create a magical language that speaks
poetically and wistfully of human experiences, or comments of human behavior with fanciful wit and bits of irony".
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| Rose Gonnella |
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| The Nantucket Bacon, September 4, 1996 |
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"The works of Mikhail Gubin prove that expression and fantasy become bright and impressive
only when the artist is well and truly professional. Gubin's work occupies a unique place
in which there is synthesis of freedom of expression and feelings and true artistic professionalism".
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| Ernst Neizvestny |
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| Sculptor, Artist, Philosopher, 1992 |
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"His varied pencil markings range from dark and dense to light and loose in a rhythmic flow
across the well-covered paper surface, emitting a strong sense of vitality and energy. Each
of Gubin's technical choices works to expand the dynamic of his imagery".
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| Judy Birke |
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| New Heaven Register, Sunday May 14, 2000 |
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"It is my usual method to award a top prize to work of art that is brilliantly thought out and well executed.
This may seem obvious. What is not obvious is that I usually pick a work of art that may be passed by at first glance.
Mikhail Gubin's "A holy Table" was not to be denied: thought it broke many of my expectations of what I would honor,
it had a strength that simply startled. The formally heavy row of empty chairs along the collage works top border
was challenged by a rush of cut and torn paper images that seemed to fly across the plane of the table.
The theme has been well explored from the Renaissance to Warhol. "A Holy Table" is a worthy part of the lineage of
works of art that are inspired by The Last Supper".
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| Barbara O'Brien |
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| Regional Review Coordinator for Art New England and Independent Curator for National Collage Society, Inc. 18th Annual Juried Exhibit 2002 at Montserrat College of Art, Beverly, Massachusetts, September 2002 |
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"Gubin really knows how to move paint around: his backgrounds are filled with beautifully scumbled, delicately
colored shapes reminiscent of Diebenkorn and de Kooning in their autographic authenticity.
Collaged elements are handled with masterly aplomb".
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| Michael Salcman |
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| RADARFOUR, Baltimore Arts & Culture, Issue 4, February 2003 |
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"Mikhail Gubin displays both his why humor and his bold approach to the figure in his vigorous oil on canvas,
"Neighbor's Baby", an image of a monstrous, fretful infant clutching a doll like King Kong abducting Fay Wray
from The Empire State Building. Of course, this is how everybody's neighbor's brat sound when it throws things
around and bawls incessantly, but only Gubin has captured that feeling with such painterly energy. And he is
in good company at Allan Stone Gallery ".
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| Ed McCormack |
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| Gallery and Studio, November/December 1999 |
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"...He is a superb colorist, capable of a subtlety and tonal poetry rarely seen in recent figurative art.
Yet, it is his talent for concocting peculiar situations and somewhat bizarre permutations of people, animals,
and objects that makes his composition so compelling".
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| Martin Parsons |
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| ARTspeak, September, 1992 |
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"...Gubin exhibits superior ability to convey man's challenges through these strong, if unsettling, visual stories.
They offer a welcome truth in reviewing our own role in life's "Big picture" as villain, heroine, onlooker, or
victim in our modest galleries. Afterwards, perhaps, the viewer will recognize the need to take precautions in
their own lives to respond to these evils with good deeds, rather than just good intentions.
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| Kimberly B. Koller-Jones |
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| Executive Director Hoyt Institute of Fine Arts, Catalogue of an Exhibition, May 2000 |
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"...There's a marvelous still-life on the far back wall of the gallery that alone is reason enough to pay a visit.
And there's no doubting the intensely emotional character of such pieces as Mother and Daughter and Romeo and Juliet -
though, like Gubin's St. Sebastian and Madonna, the meaning of these images have been so savagely
deconstructed that viewers may not even recognize them as traditional icons."
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| Glenn McNatt |
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| Sun Art Critic, The Baltimore Sun, Thursday, January 23, 2003 |
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