rnity de o M g n ri Encounte Central Asians first encountered Europeanstyle modernity with the arrival of Russian
MATION OR F N I MUSEUM literacy campaigns and disseminated new
ideas through schools and mass media. Sanc-
Tsarist soldiers and bureaucrats at the
tioned ideas about gender roles underwent
profound engagement with modernism,
profoundly upended Central Asian social
as the omnipresent state sought to funda-
The artworks highlighted in the Encoun-
end of the nineteenth century. Their most
however, occurred during the Soviet era
mentally transform all aspects of society.
dramatic revision. Together, these dynamics classes and traditional hierarchies.
tering Modernity section of this exhibition
During this era, traditional political and
provide a window into these various ways of
sion. State-sanctioned national identities
modernity through art. At the same time,
religious elites experienced massive repres-
celebrating Central Asia’s engagement with
gradually replaced regional tribal allegiances.
they demonstrate how Central Asian artists
ized agriculture prompted fundamental
heritage throughout the Soviet moderniza-
Industrialization and large-scale collectiveconomic shifts. The state organized massive
maintained an appreciation for local cultural
tion project.
Location
The museum is located at the corner of 21st and G streets, NW, four blocks from the Foggy Bottom Metro station (Blue, Orange, and Silver lines). For directions and parking information, visit museum.gwu.edu/plan-visit.
Hours
Monday, Wednesday–Friday: 11:30 AM–6:30 PM Saturday: 10 AM–5 PM; Sunday: 1–5 PM Closed Tuesdays and university holidays.
Admission
$8 suggested donation for non-members. Free for museum members, children, and current GW students, faculty, and staff.
Accessibility
The museum is wheelchair accessible and designated garage parking is available nearby. Visit museum.gwu.edu/accessibility for more information.
Museum Shop
Visit the shop for unique jewelry, home décor, books, and gifts from Washington, D.C., and around the world.
Arthur D. Jenkins Library
The reading room is open Wednesday– Thursday 1–4 PM and by appointment. Please contact the librarian before your visit at museumlibrary@gwu.edu.
Albert H. Small Center for National Capital Area Studies
With the museum’s Washingtoniana Collection as a centerpiece, the center engages students, scholars, and the public in research and educational programs pertaining to our nation’s capital. Old Patterns, New Order: Socialist Realism in Central Asia is a collaboration between the George Washington University’s Central Asia Program and the George Washington University Museum and The Textile Museum.
Eradicate Illiteracy (Likbez), Abdurakhman Rakhimov, Soviet Union, Tajik SSR, 1986, oil on canvas, The Roberts Collection
The museum is grateful to Nurbek and Churek Turdukulov and Sean Roberts for their generous cooperation in lending from their collections to this exhibition.
Public Programs
For the most up-to-date list of the museum’s educational programs, visit museum.gwu.edu/calendar.
Exhibition Tours
Free walk-in tours highlighting selections from current exhibitions are offered each Saturday and Sunday at 1:30 PM (textile tour) and 2:30 PM (Washingtoniana tour). To schedule a docent-led tour for groups of six to forty people, email museumed@gwu.edu at least four weeks in advance.
Join or Donate
Support from members and donors is the driving force that allows the museum to continue its work bringing art, history, and culture alive for the GW community and the public. To join or renew a current membership, or to make a donation, visit museum.gwu.edu/support or call 202-994-5579.
Stay in Touch
Follow the museum online for more information about works on view, programs, and behind-thescenes activities. @GWTextileMuseum TextileMuseum GWMuseum Textile-Museum.tumblr.com
The George Washington University Museum and The Textile Museum
701 21st Street, NW, Washington, DC 20052 202-994-5200 | museum.gwu.edu
R OCTOBE
10
, 201 9 2 Y A – M , 2015
6
ing Harvest
Textiles an i s A Central
helped artists to enrich their narrative, the
With a long history of irrigation techniques
Textiles have been part of Central Asian iden-
on the brink of extinction due to the political
always been predominantly agrarian.
in the long history of textile production in
the paintings.
of this tradition, the first industrialized large-
Produced by ethnically and socially diverse
changes in Central Asia have given textile
in the Tsarist period and accelerated rapidly
and settled people; dyers and tailors; women
reaching back centuries, Central Asia has
tity for centuries. The last brilliant chapter
Although cotton growing has long been part
the region was in the nineteenth century.
scale cotton production in the region began
after the Bolsheviks seized power. The Soviet
The Bazaar at Bibi Khanom, Varsham N. Yeremyan, Soviet Union, Uzbek SSR, 1945, oil on canvas, The Roberts Collection
F
or centuries, Central Asia’s turbulent
nations, especially Kazakhstan, Kyrgyzstan,
were prized for their great beauty and fine
Central Asia. The cotton harvest became a cen-
history and pivotal geographic posi-
Uzbekistan, Tajikistan, and Turkmenistan, hop-
tral social event in the life of Soviet collective
peoples to varied artistic influences and
Soviet socialism could bring not only to the
Asia’s contribution to the Soviet system. The
along major trade routes, artists benefited by
Twentieth-century Central Asia, the largest
allowed for ample exploration of themes that
of India, China, Iran, Russia, and beyond. Cen-
rule, maintained a tenuous balance between
of the region as well as its dramatic landscapes.
tion have exposed the region’s diverse
traditions. In steppes, mountains, and valleys
experiencing the aesthetics and techniques
tral Asia became a ripe environment for the
ing to present them as an example of what
Islamic world, but to all developing countries. Muslim-majority region to experience Soviet
its Muslim cultural heritage and Soviet athe-
farms, and its success demonstrated Central cotton harvest was a key artistic subject that
celebrated the traditional clothing and people
gia Nostal There has always been tension within Central
Asian socialist realism between its celebration of Soviet modernization and its preoccupation
ist modernism.
with local cultural uniqueness and pre-modern
Tsarist Russia and later the Soviet Union
region’s socialist realism cultural output. Paint-
talgia for pre-Soviet life was a theme primarily
last century in Central Asia. The Soviets worked
that combined the monumentalism of Soviet
region their home. It allowed these artists to
and parochial nationalism.
culture and to indulge in a fascination with
emergence of beautiful, engaging, and often
intriguing works of art.
became the most predominant influence of the vigorously to modernize the newly created
This balance is particularly apparent in the
history. In the early years of Soviet power, nos-
ers of this era produced a unique school of art
art with exoticism, local cultural influences,
escape the politicization of modern Soviet
On one hand, Central Asian socialist real-
the exotic. By the 1970s, however, nostalgia
by the Soviets. It reproduces classic themes of
Asian artists, allowing them to explore their
urbanization, and literacy. It celebrates the
These new references to national motifs were
and the Party leader. On the other hand, the
tions of colors, textures, and faces. Although
had become the domain of native Central
industrial modernization, women’s liberation,
own heritage and infuse it with mythic ideals.
teacher, the worker, the progressive farmer,
transformed through more abstract interpreta-
works, whether created by native or non-native
this art has elements of self-exoticization, it
Central Asians, echo European colonial art. This
tradition, known as Orientalism, romanticizes
landscapes and faces by using motifs drawn from local textiles and cultural traditions.
workmanship.
The region’s vibrant textile tradition came
to a halt in the twentieth century – the result
nineteenth-century textiles are considered
porary textiles produced in traditional ways
are undergoing an unprecedented resurgence,
thanks to the perseverance of generations of artisans who kept their skills alive through
the years of Soviet rule.
This exhibition is the first in the United
of economic change and a desire to “modern-
States devoted to Central Asia’s socialist
directly contributed to the decline of the artis-
recognition to this little-known, but fasci-
ize.” The loss of private textile workshops
tic competition that had allowed artisans to
realism art movement, giving long-overdue
nating, artistic tradition. During the Soviet
push the limits of their craft artistically and
period, hundreds of Central Asian painters
In socialist realist paintings, Central Asian
careers to artistic pursuits with unprece-
technically in the previous century.
textiles were used as symbols of two some-
what opposing ideals: progress and nostalgia
and graphic artists were able to devote their dented support but often also unwelcomed
guidance from the state.
explored by Russian artists who had made the
ism celebrates the new world order sought
Bag face, Ersari, Turkmenistan, early 19th century, Wool and goat hair; knotted pile, asymmetrical knot, open right, The Textile Museum 1977.36.14, gift of Jerome A. and Mary Jane Straka
works of art and cultural artifacts, contem-
original designs, and vibrant colors. They
Samarkand, Evgeniya A. Maleina, Soviet Union, Uzbek SSR, 1955, oil on canvas, The Turdukulov Collection
Post-Soviet political, social and economic
and men—the nineteenth-century Central
cotton. In the mid-1970s, the Soviet Union
ton output with the lion’s share coming from
and economic forces that were glorified in
tradition a second chance. While the region’s
Asian textiles are distinguished by their bold,
produced one-quarter of the world global cot-
ancient textile traditions of Central Asia were
peoples—from Tajik and Turkmen; nomads
planned economy decreed that Central Asia
would specialize in agriculture, especially
for heroic times. While these textile images
was also part of an evolving exploration of Etudes for the Midday Painting, Semyon A. Chuikov, Soviet Union, Kirghiz SSR, 1935, oil on canvas, The Turdukulov Collection
national identity in the region that continues
to be a preoccupation with artists and citizens in the post-Soviet period.
Marlene Laruelle Central Asia Program Director Research Professor of International Affairs Elliott School of International Affairs at the George Washington University Sumru Belger Krody Senior Curator The George Washington University Museum and The Textile Museum Details on cover and left: Munisak (woman’s robe), Uzbekistan, Bukhara, 1860-1870, silk and cotton; warp ikat, velvet, The Textile Museum 1977.31, Ruth Lincoln Fisher Memorial Fund
ing Harvest
Textiles an i s A Central
helped artists to enrich their narrative, the
With a long history of irrigation techniques
Textiles have been part of Central Asian iden-
on the brink of extinction due to the political
always been predominantly agrarian.
in the long history of textile production in
the paintings.
of this tradition, the first industrialized large-
Produced by ethnically and socially diverse
changes in Central Asia have given textile
in the Tsarist period and accelerated rapidly
and settled people; dyers and tailors; women
reaching back centuries, Central Asia has
tity for centuries. The last brilliant chapter
Although cotton growing has long been part
the region was in the nineteenth century.
scale cotton production in the region began
after the Bolsheviks seized power. The Soviet
The Bazaar at Bibi Khanom, Varsham N. Yeremyan, Soviet Union, Uzbek SSR, 1945, oil on canvas, The Roberts Collection
F
or centuries, Central Asia’s turbulent
nations, especially Kazakhstan, Kyrgyzstan,
were prized for their great beauty and fine
Central Asia. The cotton harvest became a cen-
history and pivotal geographic posi-
Uzbekistan, Tajikistan, and Turkmenistan, hop-
tral social event in the life of Soviet collective
peoples to varied artistic influences and
Soviet socialism could bring not only to the
Asia’s contribution to the Soviet system. The
along major trade routes, artists benefited by
Twentieth-century Central Asia, the largest
allowed for ample exploration of themes that
of India, China, Iran, Russia, and beyond. Cen-
rule, maintained a tenuous balance between
of the region as well as its dramatic landscapes.
tion have exposed the region’s diverse
traditions. In steppes, mountains, and valleys
experiencing the aesthetics and techniques
tral Asia became a ripe environment for the
ing to present them as an example of what
Islamic world, but to all developing countries. Muslim-majority region to experience Soviet
its Muslim cultural heritage and Soviet athe-
farms, and its success demonstrated Central cotton harvest was a key artistic subject that
celebrated the traditional clothing and people
gia Nostal There has always been tension within Central
Asian socialist realism between its celebration of Soviet modernization and its preoccupation
ist modernism.
with local cultural uniqueness and pre-modern
Tsarist Russia and later the Soviet Union
region’s socialist realism cultural output. Paint-
talgia for pre-Soviet life was a theme primarily
last century in Central Asia. The Soviets worked
that combined the monumentalism of Soviet
region their home. It allowed these artists to
and parochial nationalism.
culture and to indulge in a fascination with
emergence of beautiful, engaging, and often
intriguing works of art.
became the most predominant influence of the vigorously to modernize the newly created
This balance is particularly apparent in the
history. In the early years of Soviet power, nos-
ers of this era produced a unique school of art
art with exoticism, local cultural influences,
escape the politicization of modern Soviet
On one hand, Central Asian socialist real-
the exotic. By the 1970s, however, nostalgia
by the Soviets. It reproduces classic themes of
Asian artists, allowing them to explore their
urbanization, and literacy. It celebrates the
These new references to national motifs were
and the Party leader. On the other hand, the
tions of colors, textures, and faces. Although
had become the domain of native Central
industrial modernization, women’s liberation,
own heritage and infuse it with mythic ideals.
teacher, the worker, the progressive farmer,
transformed through more abstract interpreta-
works, whether created by native or non-native
this art has elements of self-exoticization, it
Central Asians, echo European colonial art. This
tradition, known as Orientalism, romanticizes
landscapes and faces by using motifs drawn from local textiles and cultural traditions.
workmanship.
The region’s vibrant textile tradition came
to a halt in the twentieth century – the result
nineteenth-century textiles are considered
porary textiles produced in traditional ways
are undergoing an unprecedented resurgence,
thanks to the perseverance of generations of artisans who kept their skills alive through
the years of Soviet rule.
This exhibition is the first in the United
of economic change and a desire to “modern-
States devoted to Central Asia’s socialist
directly contributed to the decline of the artis-
recognition to this little-known, but fasci-
ize.” The loss of private textile workshops
tic competition that had allowed artisans to
realism art movement, giving long-overdue
nating, artistic tradition. During the Soviet
push the limits of their craft artistically and
period, hundreds of Central Asian painters
In socialist realist paintings, Central Asian
careers to artistic pursuits with unprece-
technically in the previous century.
textiles were used as symbols of two some-
what opposing ideals: progress and nostalgia
and graphic artists were able to devote their dented support but often also unwelcomed
guidance from the state.
explored by Russian artists who had made the
ism celebrates the new world order sought
Bag face, Ersari, Turkmenistan, early 19th century, Wool and goat hair; knotted pile, asymmetrical knot, open right, The Textile Museum 1977.36.14, gift of Jerome A. and Mary Jane Straka
works of art and cultural artifacts, contem-
original designs, and vibrant colors. They
Samarkand, Evgeniya A. Maleina, Soviet Union, Uzbek SSR, 1955, oil on canvas, The Turdukulov Collection
Post-Soviet political, social and economic
and men—the nineteenth-century Central
cotton. In the mid-1970s, the Soviet Union
ton output with the lion’s share coming from
and economic forces that were glorified in
tradition a second chance. While the region’s
Asian textiles are distinguished by their bold,
produced one-quarter of the world global cot-
ancient textile traditions of Central Asia were
peoples—from Tajik and Turkmen; nomads
planned economy decreed that Central Asia
would specialize in agriculture, especially
for heroic times. While these textile images
was also part of an evolving exploration of Etudes for the Midday Painting, Semyon A. Chuikov, Soviet Union, Kirghiz SSR, 1935, oil on canvas, The Turdukulov Collection
national identity in the region that continues
to be a preoccupation with artists and citizens in the post-Soviet period.
Marlene Laruelle Central Asia Program Director Research Professor of International Affairs Elliott School of International Affairs at the George Washington University Sumru Belger Krody Senior Curator The George Washington University Museum and The Textile Museum Details on cover and left: Munisak (woman’s robe), Uzbekistan, Bukhara, 1860-1870, silk and cotton; warp ikat, velvet, The Textile Museum 1977.31, Ruth Lincoln Fisher Memorial Fund
ing Harvest
Textiles an i s A Central
helped artists to enrich their narrative, the
With a long history of irrigation techniques
Textiles have been part of Central Asian iden-
on the brink of extinction due to the political
always been predominantly agrarian.
in the long history of textile production in
the paintings.
of this tradition, the first industrialized large-
Produced by ethnically and socially diverse
changes in Central Asia have given textile
in the Tsarist period and accelerated rapidly
and settled people; dyers and tailors; women
reaching back centuries, Central Asia has
tity for centuries. The last brilliant chapter
Although cotton growing has long been part
the region was in the nineteenth century.
scale cotton production in the region began
after the Bolsheviks seized power. The Soviet
The Bazaar at Bibi Khanom, Varsham N. Yeremyan, Soviet Union, Uzbek SSR, 1945, oil on canvas, The Roberts Collection
F
or centuries, Central Asia’s turbulent
nations, especially Kazakhstan, Kyrgyzstan,
were prized for their great beauty and fine
Central Asia. The cotton harvest became a cen-
history and pivotal geographic posi-
Uzbekistan, Tajikistan, and Turkmenistan, hop-
tral social event in the life of Soviet collective
peoples to varied artistic influences and
Soviet socialism could bring not only to the
Asia’s contribution to the Soviet system. The
along major trade routes, artists benefited by
Twentieth-century Central Asia, the largest
allowed for ample exploration of themes that
of India, China, Iran, Russia, and beyond. Cen-
rule, maintained a tenuous balance between
of the region as well as its dramatic landscapes.
tion have exposed the region’s diverse
traditions. In steppes, mountains, and valleys
experiencing the aesthetics and techniques
tral Asia became a ripe environment for the
ing to present them as an example of what
Islamic world, but to all developing countries. Muslim-majority region to experience Soviet
its Muslim cultural heritage and Soviet athe-
farms, and its success demonstrated Central cotton harvest was a key artistic subject that
celebrated the traditional clothing and people
gia Nostal There has always been tension within Central
Asian socialist realism between its celebration of Soviet modernization and its preoccupation
ist modernism.
with local cultural uniqueness and pre-modern
Tsarist Russia and later the Soviet Union
region’s socialist realism cultural output. Paint-
talgia for pre-Soviet life was a theme primarily
last century in Central Asia. The Soviets worked
that combined the monumentalism of Soviet
region their home. It allowed these artists to
and parochial nationalism.
culture and to indulge in a fascination with
emergence of beautiful, engaging, and often
intriguing works of art.
became the most predominant influence of the vigorously to modernize the newly created
This balance is particularly apparent in the
history. In the early years of Soviet power, nos-
ers of this era produced a unique school of art
art with exoticism, local cultural influences,
escape the politicization of modern Soviet
On one hand, Central Asian socialist real-
the exotic. By the 1970s, however, nostalgia
by the Soviets. It reproduces classic themes of
Asian artists, allowing them to explore their
urbanization, and literacy. It celebrates the
These new references to national motifs were
and the Party leader. On the other hand, the
tions of colors, textures, and faces. Although
had become the domain of native Central
industrial modernization, women’s liberation,
own heritage and infuse it with mythic ideals.
teacher, the worker, the progressive farmer,
transformed through more abstract interpreta-
works, whether created by native or non-native
this art has elements of self-exoticization, it
Central Asians, echo European colonial art. This
tradition, known as Orientalism, romanticizes
landscapes and faces by using motifs drawn from local textiles and cultural traditions.
workmanship.
The region’s vibrant textile tradition came
to a halt in the twentieth century – the result
nineteenth-century textiles are considered
porary textiles produced in traditional ways
are undergoing an unprecedented resurgence,
thanks to the perseverance of generations of artisans who kept their skills alive through
the years of Soviet rule.
This exhibition is the first in the United
of economic change and a desire to “modern-
States devoted to Central Asia’s socialist
directly contributed to the decline of the artis-
recognition to this little-known, but fasci-
ize.” The loss of private textile workshops
tic competition that had allowed artisans to
realism art movement, giving long-overdue
nating, artistic tradition. During the Soviet
push the limits of their craft artistically and
period, hundreds of Central Asian painters
In socialist realist paintings, Central Asian
careers to artistic pursuits with unprece-
technically in the previous century.
textiles were used as symbols of two some-
what opposing ideals: progress and nostalgia
and graphic artists were able to devote their dented support but often also unwelcomed
guidance from the state.
explored by Russian artists who had made the
ism celebrates the new world order sought
Bag face, Ersari, Turkmenistan, early 19th century, Wool and goat hair; knotted pile, asymmetrical knot, open right, The Textile Museum 1977.36.14, gift of Jerome A. and Mary Jane Straka
works of art and cultural artifacts, contem-
original designs, and vibrant colors. They
Samarkand, Evgeniya A. Maleina, Soviet Union, Uzbek SSR, 1955, oil on canvas, The Turdukulov Collection
Post-Soviet political, social and economic
and men—the nineteenth-century Central
cotton. In the mid-1970s, the Soviet Union
ton output with the lion’s share coming from
and economic forces that were glorified in
tradition a second chance. While the region’s
Asian textiles are distinguished by their bold,
produced one-quarter of the world global cot-
ancient textile traditions of Central Asia were
peoples—from Tajik and Turkmen; nomads
planned economy decreed that Central Asia
would specialize in agriculture, especially
for heroic times. While these textile images
was also part of an evolving exploration of Etudes for the Midday Painting, Semyon A. Chuikov, Soviet Union, Kirghiz SSR, 1935, oil on canvas, The Turdukulov Collection
national identity in the region that continues
to be a preoccupation with artists and citizens in the post-Soviet period.
Marlene Laruelle Central Asia Program Director Research Professor of International Affairs Elliott School of International Affairs at the George Washington University Sumru Belger Krody Senior Curator The George Washington University Museum and The Textile Museum Details on cover and left: Munisak (woman’s robe), Uzbekistan, Bukhara, 1860-1870, silk and cotton; warp ikat, velvet, The Textile Museum 1977.31, Ruth Lincoln Fisher Memorial Fund
rnity de o M g n ri Encounte Central Asians first encountered Europeanstyle modernity with the arrival of Russian
MATION OR F N I MUSEUM literacy campaigns and disseminated new
ideas through schools and mass media. Sanc-
Tsarist soldiers and bureaucrats at the
tioned ideas about gender roles underwent
profound engagement with modernism,
profoundly upended Central Asian social
as the omnipresent state sought to funda-
The artworks highlighted in the Encoun-
end of the nineteenth century. Their most
however, occurred during the Soviet era
mentally transform all aspects of society.
dramatic revision. Together, these dynamics classes and traditional hierarchies.
tering Modernity section of this exhibition
During this era, traditional political and
provide a window into these various ways of
sion. State-sanctioned national identities
modernity through art. At the same time,
religious elites experienced massive repres-
celebrating Central Asia’s engagement with
gradually replaced regional tribal allegiances.
they demonstrate how Central Asian artists
ized agriculture prompted fundamental
heritage throughout the Soviet moderniza-
Industrialization and large-scale collectiveconomic shifts. The state organized massive
maintained an appreciation for local cultural
tion project.
Location
The museum is located at the corner of 21st and G streets, NW, four blocks from the Foggy Bottom Metro station (Blue, Orange, and Silver lines). For directions and parking information, visit museum.gwu.edu/plan-visit.
Hours
Monday, Wednesday–Friday: 11:30 AM–6:30 PM Saturday: 10 AM–5 PM; Sunday: 1–5 PM Closed Tuesdays and university holidays.
Admission
$8 suggested donation for non-members. Free for museum members, children, and current GW students, faculty, and staff.
Accessibility
The museum is wheelchair accessible and designated garage parking is available nearby. Visit museum.gwu.edu/accessibility for more information.
Museum Shop
Visit the shop for unique jewelry, home décor, books, and gifts from Washington, D.C., and around the world.
Arthur D. Jenkins Library
The reading room is open Wednesday– Thursday 1–4 PM and by appointment. Please contact the librarian before your visit at museumlibrary@gwu.edu.
Albert H. Small Center for National Capital Area Studies
With the museum’s Washingtoniana Collection as a centerpiece, the center engages students, scholars, and the public in research and educational programs pertaining to our nation’s capital. Old Patterns, New Order: Socialist Realism in Central Asia is a collaboration between the George Washington University’s Central Asia Program and the George Washington University Museum and The Textile Museum.
Eradicate Illiteracy (Likbez), Abdurakhman Rakhimov, Soviet Union, Tajik SSR, 1986, oil on canvas, The Roberts Collection
The museum is grateful to Nurbek and Churek Turdukulov and Sean Roberts for their generous cooperation in lending from their collections to this exhibition.
Public Programs
For the most up-to-date list of the museum’s educational programs, visit museum.gwu.edu/calendar.
Exhibition Tours
Free walk-in tours highlighting selections from current exhibitions are offered each Saturday and Sunday at 1:30 PM (textile tour) and 2:30 PM (Washingtoniana tour). To schedule a docent-led tour for groups of six to forty people, email museumed@gwu.edu at least four weeks in advance.
Join or Donate
Support from members and donors is the driving force that allows the museum to continue its work bringing art, history, and culture alive for the GW community and the public. To join or renew a current membership, or to make a donation, visit museum.gwu.edu/support or call 202-994-5579.
Stay in Touch
Follow the museum online for more information about works on view, programs, and behind-thescenes activities. @GWTextileMuseum TextileMuseum GWMuseum Textile-Museum.tumblr.com
The George Washington University Museum and The Textile Museum
701 21st Street, NW, Washington, DC 20052 202-994-5200 | museum.gwu.edu
R OCTOBE
10
, 201 9 2 Y A – M , 2015
6
rnity de o M g n ri Encounte Central Asians first encountered Europeanstyle modernity with the arrival of Russian
MATION OR F N I MUSEUM literacy campaigns and disseminated new
ideas through schools and mass media. Sanc-
Tsarist soldiers and bureaucrats at the
tioned ideas about gender roles underwent
profound engagement with modernism,
profoundly upended Central Asian social
as the omnipresent state sought to funda-
The artworks highlighted in the Encoun-
end of the nineteenth century. Their most
however, occurred during the Soviet era
mentally transform all aspects of society.
dramatic revision. Together, these dynamics classes and traditional hierarchies.
tering Modernity section of this exhibition
During this era, traditional political and
provide a window into these various ways of
sion. State-sanctioned national identities
modernity through art. At the same time,
religious elites experienced massive repres-
celebrating Central Asia’s engagement with
gradually replaced regional tribal allegiances.
they demonstrate how Central Asian artists
ized agriculture prompted fundamental
heritage throughout the Soviet moderniza-
Industrialization and large-scale collectiveconomic shifts. The state organized massive
maintained an appreciation for local cultural
tion project.
Location
The museum is located at the corner of 21st and G streets, NW, four blocks from the Foggy Bottom Metro station (Blue, Orange, and Silver lines). For directions and parking information, visit museum.gwu.edu/plan-visit.
Hours
Monday, Wednesday–Friday: 11:30 AM–6:30 PM Saturday: 10 AM–5 PM; Sunday: 1–5 PM Closed Tuesdays and university holidays.
Admission
$8 suggested donation for non-members. Free for museum members, children, and current GW students, faculty, and staff.
Accessibility
The museum is wheelchair accessible and designated garage parking is available nearby. Visit museum.gwu.edu/accessibility for more information.
Museum Shop
Visit the shop for unique jewelry, home décor, books, and gifts from Washington, D.C., and around the world.
Arthur D. Jenkins Library
The reading room is open Wednesday– Thursday 1–4 PM and by appointment. Please contact the librarian before your visit at museumlibrary@gwu.edu.
Albert H. Small Center for National Capital Area Studies
With the museum’s Washingtoniana Collection as a centerpiece, the center engages students, scholars, and the public in research and educational programs pertaining to our nation’s capital. Old Patterns, New Order: Socialist Realism in Central Asia is a collaboration between the George Washington University’s Central Asia Program and the George Washington University Museum and The Textile Museum.
Eradicate Illiteracy (Likbez), Abdurakhman Rakhimov, Soviet Union, Tajik SSR, 1986, oil on canvas, The Roberts Collection
The museum is grateful to Nurbek and Churek Turdukulov and Sean Roberts for their generous cooperation in lending from their collections to this exhibition.
Public Programs
For the most up-to-date list of the museum’s educational programs, visit museum.gwu.edu/calendar.
Exhibition Tours
Free walk-in tours highlighting selections from current exhibitions are offered each Saturday and Sunday at 1:30 PM (textile tour) and 2:30 PM (Washingtoniana tour). To schedule a docent-led tour for groups of six to forty people, email museumed@gwu.edu at least four weeks in advance.
Join or Donate
Support from members and donors is the driving force that allows the museum to continue its work bringing art, history, and culture alive for the GW community and the public. To join or renew a current membership, or to make a donation, visit museum.gwu.edu/support or call 202-994-5579.
Stay in Touch
Follow the museum online for more information about works on view, programs, and behind-thescenes activities. @GWTextileMuseum TextileMuseum GWMuseum Textile-Museum.tumblr.com
The George Washington University Museum and The Textile Museum
701 21st Street, NW, Washington, DC 20052 202-994-5200 | museum.gwu.edu
R OCTOBE
10
, 201 9 2 Y A – M , 2015
6