Malevich to Kounellis…

Malevich was the founder of the Suprematist movement whose aim was the “lend supremacy to the basic means of art, colour and form, over the mere depiction of phenomena in the visible world” [Art of the 20th Century Ruhberg et al, Taschen]. The work Dynamic Suprematism at the Tate is dated “1915/1916” and is a clear use of basic visual grammar – squares, lines, rectangles, dots – the most extreme examples of which Malevich produced being Black Square on a White Ground (1913), Black Circle (1913) and White on White (1917)…

      

… which forms are reflected in the Kounellis piece, Untitled…

  

Malevich is also credited as being one of the first artists to appreciate the expressive nature of empty space, which is very clear in the Dynamic Suprematism piece…

And this becomes even clearer when you learn that he had been flying, not that common in the early 20th Century… A direct influence on Russian poster design on the 1920s…

A connection between Malevich and Calder also becomes clearer following this further research. You can see the influence of the pure forms of Malevich in the Calder piece, which is also reflected in this piece by Velzeley:

So where is this stream of consciousness leading… I’m not sure, other than it’s made me more aware of the open space and a greater appreciation of the visual language we have been studying that will inform some experimentation soon…

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One response to “Malevich to Kounellis…

  1. Pingback: Some thoughts on Malevich… « PgCertDVC

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