Word: kasimir
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...last great efflorescence of the modernist spirit that is still not fully known about. This was partly due to the cold war. The main reason, however, was repression inside the Soviet Union. The work of artists like Alexander Rodchenko, El Lissitzky, Lyubov Popova, Natalya Goncharova, Mikhail Larionov, Vladimir Tallin, Kasimir Malevich, Natan Altman, Naum Gabo and scores of others was a collectively ecstatic response to the possibilities of a new world, the Utopia that Lenin called "Marx plus electricity." It was international in range, drawing on the resources of the new movements in Italy and France-futurism and cubism-which...
...Russia, where there was virtually no tradition of sculpture, the planar impulse took two directions. One-as its name, suprematism, indicates-tried to transcend the material world. The painter Kasimir Malevich and his students, like Ilya Chashnik, devised reliefs and models that in their crisscross of small rectangular shapes and larger blocks resemble models for imaginary buildings or cities. They were, in a very rarefied sense, social blueprints, though quite unworkable ones. Perhaps Russia was the only country in which artists could seriously imagine that abstract art might attain the moral compulsion of a holy picture. Chashnik's Large...
...Stella, dissatisfied with the plane surface of canvas-no matter whether its edges were an orthodox rectangle or not-began planning constructions, in homage to Russian constructivism and, in particular, its master Kasimir Malevich. Each painting (named after Polish and Russian village synagogues) was a shallow wall relief, built up of interlocking trapezoids and triangles of composition board that stuck out inches from one another and from the wall. Without one vertical or horizontal line in them, these tilting plaques had a mournful architectonic power. One experiences their juts and slippages as a form of physical stress. They were transitional...
...this year is running (until Oct 16) in Berlin. "Trends of the Twenties," set up by the Council of Europe, contains four exhibitions: some 3,000 paintings, drawings, sculptures, photos, models' posters, documents and every imaginable sort of artifact, from a suprematist teacup by the pioneer Russian abstractionist Kasimir Malevich to a Bauhaus gramophone. The exhibition catalogue is as thick as a brick; one needs persistence, but is richly rewarded. For "Trends of the Twenties" offers a vast and unique panorama of the European avant-garde in its most exacerbated sense of crisis, despair and hope-the years between...
...That works out to a not overly impressive $8,000,000 a year. The only exchange that he has already concluded involved neither money nor commercial products but art works. He donated a Goya portrait to the Hermitage museum in Leningrad and received in return an abstract painting by Kasimir Malevich, whose work is in such deep disfavor among Soviet officials that it has not been exhibited in more than 40 years...