Kazimir Malevich
The Climax of Disclosure
Distribution by the University of Chicago Press only to customers in the USA and Canada. Customers elsewhere should visit the UK website of Reaktion Books.
Distributed for Reaktion Books
224 pages
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8.25 x 11
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© 1991
Malevich's sudden and startling realization of a non-objective way of painting – which he termed Suprematism – stands as a seminal moment in the history of twentieth-century art.
Rainer Crone and David Moos trace the artist's development from his beginnings in the Ukraine and early years in Moscow – where he was closely involved in the Futurist circle – through to the late 1920s and beyond. The authors of this book convincingly demonstrate that it is only through a close and sustained reading of Malevich's late – and still widely misunderstood – painterly oeuvre that his extraordinarily inventive stance can truly be comprehended.
Crone and Moos trace the close relationship between Malevich's practice and other contemporary non-political revolutions in physics, linguistics and poetry. They present Malevich as a uniquely creative artist, embodying in his work many of the insights and discoveries that define the twentieth century and the condition of modern life.
Rainer Crone and David Moos trace the artist's development from his beginnings in the Ukraine and early years in Moscow – where he was closely involved in the Futurist circle – through to the late 1920s and beyond. The authors of this book convincingly demonstrate that it is only through a close and sustained reading of Malevich's late – and still widely misunderstood – painterly oeuvre that his extraordinarily inventive stance can truly be comprehended.
Crone and Moos trace the close relationship between Malevich's practice and other contemporary non-political revolutions in physics, linguistics and poetry. They present Malevich as a uniquely creative artist, embodying in his work many of the insights and discoveries that define the twentieth century and the condition of modern life.
Contents
Prologue
Introduction: This Book . . . and the End of Experience
1. The Question of Information
2. Artistic Positions: A Critical Survey
3. Origins of a Painter
4. Cubo-Futurism: Interchanges
5. Passages Through Poetry
6. The Edge of Innovation
7. Subjectivity in Temporality
8. Late Sensations and the New Reality
9. The Free Imaginary Variation
Exhibitions
Notes
Bibliography
Index
Introduction: This Book . . . and the End of Experience
1. The Question of Information
2. Artistic Positions: A Critical Survey
3. Origins of a Painter
4. Cubo-Futurism: Interchanges
5. Passages Through Poetry
6. The Edge of Innovation
7. Subjectivity in Temporality
8. Late Sensations and the New Reality
9. The Free Imaginary Variation
Exhibitions
Notes
Bibliography
Index
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