Kazimir Malevich, Self Portrait (1908-1910), State Tretyakov Gallery, Moscow, Russia

In 1915, Kazimir Malevich first exhibited his Black Square, a simple, powerful statement on the possibilities for painting in the face of contemporaries still bound up in the exploration of figurative painting and impressionist tropes.  The piece marked a bounding leap forward for modernist practice, or rather, a point of entry in its own right to the early concepts of abstraction.

Kazimir Malevich, Suprematist Painting (with Black Trapezium and Red Square) (1915), Stedelijk Museum, Amsterdam (more…)

Kazimir Malevich, Mystic Suprematism (red cross on black circle) (1920-1922), via New York Times

Kazimir Malevich’s impact on the early-Twentieth century Russian avant-garde is difficult to ignore.  Pushing forward the “new art,” he pioneered early minimalist practices and pushed the rupture of modernist art almost simultaneously with the Cubist deconstructions happening further west.  But it was Malevich that ultimately took these same processes to new abstractions, and perhaps what could be considered their limit, rendering pure geometric forms in contrasting, minimal explorations of color and space, ultimately developing the language that would come to define much of Twentieth century fine art.

Kazimir Malevich And The Russian Avant-Garde (Installation View), Via Stedelijk Museum Photo: Gert Jan van Rooij (more…)