#malevich

[ilcontephotography]

1st image:

Punta de Hidalgo lighthouse, by Ramiro Rodriguez-Borlado (1994).

Tenerife - Canary Islands, Spain.

© Roberto Conte (2023)

2nd image:

One of the "arkhitektons" by the Russian artist Kazimir Malevich, a series of models of avant-garde architecture produced from 1923 to the early 1930s and a way to apply to the three dimensions the principles of suprematism.

Moscow, Russia.

© Roberto Conte (2017) Follow me on Instagram

[artifice-ou-nature]

DEADLINE FRIDAY! (Late papers may be considered but please try to submit on time.)

UAAC Session Call for Papers: Left in the Dark

Anna O'Meara, University of Victoria, aomeara20@gmail.com

Panel Session | Session de panel

As Martin Jay explores in Downcast Eyes, metaphors for sight broadly relate to empirical understanding. What kinds of understandings are associated with darkness or shades of black? The dark has diverse transhistorical associations, including black out protests; black holes (Anish Kapoor); race/colorism; chiaroscuro; infinity and cosmos (Malevich); protection (Hinduism); femininity (Taoism); inner light (Kabbalah); and eternal spirit (Jacques-Louis David). While various and sometimes contradictory, certain trends appear somewhat consistently, especially the presence of ontological questions in association with darkness and the shade of black. This session encourages papers that explore transnational and transhistorical themes of darkness in relation to questions of being and nothingness. We welcome sessions both within art and art history and from a variety of disciplines that employ art historical or artistic approaches. We accept both Francophone and Anglophone proposals. This is an in-person session.

[artstfuff]

The last futurist exhibition of paintings 0,10 at Marsovo Pole, in Petrograd, Russia, 12.1915-01.1916.

end of previous Russian art movement: Cubo-futurism.

non-objective art

[tom-isaacs]

Malevich’s ‘arkhitekton coffin’ designed by Nikolai Suetin and Konstantin Rozhdestvensky

“Suetin and Rozhdestvensky together drew a design for the coffin and took it to a carpenter's workshop, where the carpenter simplified the project a little, because he could not make all the complex Suprematist profiles. The coffin was a" fallen sideways " Architecton, smooth on all sides. Each side of the coffin had six ledges: three ledges on the lid and three on the coffin. Suetin and Rozhdestvensky painted this coffin: the side of the coffin and the lids adjacent to the sides were green, the upper sides of the second ledge of the lid were black, and the rest was all white; on the upper white side, a black square was drawn at the heads, and a red circle was drawn at the feet. They did not draw the cross, so as not to show unambiguously religious symbols.” (source)

[somepiecesofartiwanttoremember]

Kazimir Malevich - Eight Red Rectangles (1915) 

[roaratorio]

Kazimir Malevich, Suprematist Structure Among American Skyscrapers, 1926

[malevichsuprematism]

Why would Kazimir Malevich shift away from Suprematism after the 1920’s?

Kazimir Malevich On the Boulevard, canvas, oil. 60.5 x 78, 1929 – 1930 Kazimir Malevich’s evolving relationship with Suprematism in the post-1920s era was influenced by a variety of factors, reflecting a complex interplay of political, personal, and philosophical dynamics.

Politically, the ascent of Joseph Stalin’s regime in Soviet Russia marked a significant shift in cultural policies, favoring Socialist Realism as the sanctioned artistic style. Suprematism’s abstract, non-representational approach clashed with the regime’s preference for art that served propagandistic purposes and depicted idealized Soviet themes. Consequently, Malevich encountered mounting challenges in showcasing and disseminating his Suprematist works within the state-controlled artistic milieu.

However, Malevich’s relationship with Suprematism was not solely defined by external pressures. Internally, he experienced a gradual evolution of his artistic vision and philosophical outlook. While Suprematism had been groundbreaking in its time, Malevich may have felt constrained by its formal constraints and sought new avenues for creative expression. His later works reflected a deeper engagement with spiritual and metaphysical themes, indicating a transition towards a more introspective and contemplative artistic practice.

Moreover, practical considerations likely influenced Malevich’s approach. With Suprematism marginalized within the Soviet art world, Malevich may have pragmatically adapted his artistic output to align with prevailing trends and market demands, ensuring his continued relevance as an artist.

“On the Boulevard” by Kazimir Malevich from the late 1920s to early 1930s, places it squarely within the period when Malevich was shifting away from Suprematism. This painting further exemplifies his departure from the movement.

In “On the Boulevard,” Malevich continues to depart from the strict geometric abstraction of Suprematism, instead incorporating elements of the urban landscape in a more recognizable manner. The use of color and form in this painting suggests a transition towards a more varied and representational style.

By depicting scenes from everyday life, such as people walking along a boulevard, Malevich moves away from the purely abstract concerns of Suprematism and towards a more figurative and narrative-driven approach. This departure from his earlier style reflects his evolving artistic interests and his willingness to explore new avenues of expression.

Overall, “On the Boulevard” serves as another example of Malevich’s shift away from Suprematism during the late 1920s and early 1930s, as he embraced a more diverse and representational approach to painting.

[peturpitus]

[unhingedlesbianvampire]

Not been the most productive week but! We move!

To do:

Write Script for coursework

Master and Margarita Readings

Grammar drills

Should be a nice, manageable day!

[puryaart]

🍋🍋🍋

[unhonestlymirror]

russia cannot reach a single achievement without Ukraine, and it's proud the most of people who were Ukrainian origin but were russified.

[fineartandblueamber]

In the years 1919/20 Malevich was still deeply engaged in his Suprematism movement during 1919 and 1920. In fact, this period was significant for him as he continued to develop and refine the principles of Suprematism. Malevich believed in the supremacy of pure artistic feeling over depiction of objects in the visible world, and this period saw him producing some of his most iconic works. Between 1917 and 1918 he created his series of “White on White” paintings. Malevich remained firmly rooted in Suprematism during these years, exploring its principles in depth through his art. One of the results of this you can see in the painting “Suprematism of the Spirit”. File:Suprematism-spirit-1919-1920.jpg – Wikipedia.

Seems that there were several versions made (by him personally?). The museum in Amsterdam has one on wood and the museum in Tel Aviv has one based on that one in Amsteram. But the version I mention above is shown in Unovis No 1 Vitebsk 1920 as annex to the facsimile edition and in Jahrbuch der jungen Kunst, Klinkhardt Biermann in the article of Kallai, Ernst (Konstruktivismus p.375) Leipzig,1924 as well as El Lissitzky/Hans Arp (Die Kunstismen /Les Ismes de L’Art /The Isms of Art) in 1924-1914 Erlenbach Zürich München Leipzig 1925 Pp 23 (illustration 45) etc. (More information available)

[kimsfavs]

Молитва, 1913 Казимир Малевич.

[normally0]

The Malevich Tectonic of Zaha, Oswald & Daniel

[tom-isaacs]

Underneath the Bitumen the Artist - Mike Parr

"This work was con­ceived to memo­ri­alise the vic­tims of twen­ti­eth cen­tu­ry total­i­tar­i­an vio­lence in all of its ide­o­log­i­cal forms, includ­ing the shad­ow cast by the geno­ci­dal vio­lence of nine­teenth cen­tu­ry British colo­nial­ism in Australia. "The pub­lic will be able to wit­ness the artist’s ​‘dis­ap­pear­ance’ under the road, but fol­low­ing the entomb­ment, the road will be returned to famil­iar use. "When the artist exits the con­tain­er at the con­clu­sion of the per­for­mance, con­crete will be poured to fuse the cham­ber and its con­tents as a time cap­sule instat­ed for future generations." (source)

"Mr. Parr’s said his van­ish­ing act was designed to tap into our deep­est anx­i­eties. Inspired by Kaz­imir Malevich’s paint­ing ​'Black Square,' the per­for­mance, Mr. Parr said, was about ​'the null of the image.'" (source)

[roaratorio]

Lazar Khidekel, Series of Tonal Vertical Architecton, 1927