Word: malevich
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Dates: during 1970-1979
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...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...
...frustrated by shortages of materials and know-how. Still, these works cast a long shadow. The most surprising aspect of the show is the quality of some of the lesser known artists whose work Curator Rowell has ferreted out. One was Katarzyna Kobro, a Russian woman who worked with Malevich and Lissitzky in the years just after the 1917 Revolution, and whose exquisitely organized sculptures of painted sheet steel radiate an un common precision of feeling. Alas, nearly all of Kobro's output has vanished, as has that of László Peri, a Hungarian sculptor who died...
...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...
Starting with the Brazilian series, Stella used the most precise-looking of all materials, metal, to carry the paint. Designing with it gave Stella's work a more overtly constructivist look than ever, in line with Malevich's prediction written 60 years before: "We see now technical means penetrating into the purely painterly picture, and these means may already be called 'engineering.' " Of course, a piece like Grajaú I, 1975, is only fictive engineering- it does not have to with stand the stresses of the real world, like a truss or a glider wing...