Podcasts about Kazimir Malevich

Few artists aim to make sense of the subjectivity and complexity of time and space quite like the Polish-born, Berlin-based artist Alicja Kwade. In each of her works, ranging from sculptures and large-scale public installations to films, photographs, and works on paper, Kwade displays an astute sense of temporality and the ticking hands of the clock. Her practice, in a literal and figurative sense, is a quest to understand time as a ruler and shaper of our lives and of our world. For her latest exhibition, “Telos Tales,” on view at Pace Gallery in New York's Chelsea neighborhood through August 15, Kwade has created three monumental steel-frame sculptures with treelike limbs alongside new mixed-media works in an effort to engage the intangible nature of time. As with all her work, “Telos Tales” is philosophical, illusionistic, and inspires wonder: Long after a viewer has seen it, it will leave them questioning.On the episode, Kwade considers the unfathomability of all things, finds humor in being human, and explains what a relief it is to know that some questions have no clear answers—and never will. Special thanks to our Season 11 presenting sponsor, Van Cleef & Arpels.Show notes:Alicja Kwade[13:19] “Alicja Kwade: Telos Tales” at Pace Gallery[16:56] “Hiroshi Sugimoto on Photography as a Form of Timekeeping”[18:41] “Alicja Kwade: Pretopia” (2025)[24:42] On Kawara's Date Paintings[25:04] “Alicja Kwade & Agnes Martin: Rhythm, Equilibrium, and Time” (2024)[25:04] “Gegen den Lauf” (2012-2014)[29:48] “Stellar Day” (2013)[31:44] “Against the Run” (2015)[31:44] “Against the Run” (2019)[31:44] Pinacoteca Agnelli Art Center[35:04] “88 Seconds”  (2017)[35:04] Eadweard Muybridge[39:24] Hiroshi Sugimoto[49:00] Salvador Dalí[49:00] Harry Houdini[49:00] Kazimir Malevich[59:27] “iPhone” (2017)[59:27] “Computer (PowerMac)” (2017)[01:04:47] “LinienLand” (2018)[01:04:47] “Alicja Kwade: Parapivot” (2019)[01:04:47] “Alicja Kwade: Viva Arte Viva” (2017)[01:08:30] “L'ordre des Mondes (Totem)” (2024)[01:13:50] Jason Farago[01:13:50] “Celestial Visions on the Met Roof”

“Black Circle” by Kazimir Malevich (1924). Public domain via Wikimedia Commons.

GUEST: Tetyana Filevska - Art manager, curator, writer, and researcher. ---------- By Killing Modernist Artists and Appropriating their Works, Russia Tried to Control and Manipulate the Future. ---------- Today I'm speaking with Tetyana Filevska, art manager, curator, writer, and researcher of 20th century Ukrainian art. Her experience encompasses festivals, conferences, exhibitions, educational courses, books, and films. She has worked in various art institutions, particularly the EIDOS Arts Development Foundation, Contemporary Art Centre, IZOLYATSIA. Platform for cultural initiatives, Mystetskyi Arsenal. Co-founder of the NGO Malevich Institute. Teyana is the author of some of the leading books about “Kazimir Malevich”, especially focusing on his ‘Kyiv period 1928-1930', and she has sought to reverse the cultural appropriation that leads him to be labelled as a Russian artis and reclaim his Ukrainian provenance and identity. Tetyana teaches at the Ukrainian Catholic University, and the Diplomatic Academy of Ukraine. ---------- LINKS: https://ui.org.ua/en/team-2/ https://ukrainianinstitute.org.uk/events/avant-garde-in-ukraine-and-decoloniality/ https://www.youtube.com/watch?v=PmO0raWceWw https://twitter.com/TetyanaFilevska https://www.instagram.com/tetyanafilevska/?hl=en ---------- SUPPORT THE CHANNEL: https://www.buymeacoffee.com/siliconcurtain https://www.patreon.com/siliconcurtain ---------- WATCH NEXT: Orest Zub https://youtu.be/A7MrcwdDvPQ Aliona Hlivco https://youtu.be/yGLUBCfTkD8 Olga Tokariuk https://youtu.be/D5onDse6WJs Anna Danylchuk https://youtu.be/5AenntkSxIs Roman Sheremeta https://youtu.be/olrTPku8EMM ---------- PLATFORMS: Twitter: https://twitter.com/CurtainSilicon Instagram: https://www.instagram.com/siliconcurtain/ Podcast: https://open.spotify.com/show/4thRZj6NO7y93zG11JMtqm Linkedin: https://www.linkedin.com/in/finkjonathan/ Patreon: https://www.patreon.com/siliconcurtain ---------- Welcome to the Silicon Curtain podcast. Please like and subscribe if you like the content we produce. It will really help to increase the popularity of our content in YouTube s algorithm. Our material is now being made available on popular podcasting platforms as well, such as Spotify and Apple Podcasts.

Un día como hoy, 23 de febrero: Nace: 1685: Georg Friedrich Händel, compositor británico de origen alemán (f. 1759). 1878: Kazimir Malevich, pintor ucraniano (f. 1935). 1882: B. Traven, actor y novelista alemán (f. 1969). 1889: Victor Fleming, cineasta estadounidense (f. 1949). 1965: Sylvie Guillem, bailarina y coreógrafa francesa. 1983: Emily Blunt, actriz británica. Fallece: 1821: John Keats, poeta británico (n. 1795). 1934: Edward Elgar, compositor británico (n. 1857). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

Un día como hoy, 11 de febrero. Nace: 1869: Else Lasker-Schüler, poeta y escritora alemana. 1878: Kazimir Malevich, pintor ruso. 1909: Joseph L. Mankiewicz, cineasta estadounidense. Fallece: 1650: René Descartes, filósofo y matemático francés. 1879: Honoré Daumier, pintor y caricaturista francés. 1948: Serguéi Eisenstein, director ruso de teatro y cine. 1963: Sylvia Plath, poetisa y novelista estadounidense. Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

The first installment of the new series, Haunt Manual, which explores the hauntological prisms of creative and magickal praxis as a fluid multimedia grimoire. Full chapter at https://keatsross.substack.com/ and podcast shownotes at https://www.wethehallowed.org/haunt-manual-neither-either-or

DJ is proud and happy to interview Fabio Palvelli - a 3D artist, business consultant, and YouTuber, Founder of the famous D2 Conference (first for archviz and now for all digital artists). Fabio is also known for his positive attitude (especially towards dogs, pizza, and Nutella but life in general too) and he became one of the early adopters in the emerging NFT digital art scene.In this part, we focus on Fabio's art and his personal goals and experiences. Fabio talks about his love of color and his spark to create art for joy. Fabio tells us about his everyday render challenge (similar to Beeple's) that he does to stay creative and inspired (regardless of external approval). The conversation revolves around what drives Fabio's creativity and what he loves the most about art. We share some inspirations from the modern and contemporary art world including Kazimir Malevich, Peter Tarka ( https://petertarka.com/ ), and Harry Pack ( https://www.harrypackart.com/ ).Fabio has always been a community man (just to mention his D2 conference roots) so he is open to collaborations. DJ asks him about the collabs he already did and he would wish (or dream) for the future.We also touch upon his shift from using Cinema 4d to Blender. Fabio shares what he loves about the new software and mentions what he misses from C4D (particularly the mograph)

Korea24 – 2022.03.18. (Friday) News Briefing: President-elect Yoon Suk Yeol has officially launched his transition team and he has stressed that priority will be given to the needs of the general public and national interests. (KOO Hee-jin) In-Depth News Analysis (Weekly Economy Review): The US Federal Reserve raised interest rates for the first time since 2018, starting its efforts to battle the spiraling inflation. Meanwhile, Russia has managed to avert defaulting on its foreign debt despite increasing international sanctions following its invasion of Ukraine. To discuss these developments and its potential impact, including here in South Korea, Economic Professor Yang Jun-sok from the Catholic University of Korea joins us on the line. Korea Trending with Walter Lee: 1. A new variant of COVID-19 has been reported in Israel that contains elements of the omicron and stealth omicron variants. (이스라엘서 오미크론+스텔스오미크론 변이 발견) 2. A museum in Russia has requested the early return of artworks by artist Kazimir Malevich that are on display at an exhibition in Seoul. (러시아의 화풀이?…“한국에 전시 중인 미술품 반환해라”) 3. The Kiwoom Heroes have controversially signed its former shortstop, Kang Jung-ho, despite having previously been virtually expelled from the KBO after 3 DUI’s. (키움, 강정호와 계약…KBO에 임의해지 복귀 승인 요청) Movie Spotlight: The iconic veteran actor Choi Min-sik stars in a new film, 'In Our Prime (이상한 나라의 수학자)' that tells the story of a North Korean defector and mathematician, who is working as a security guard at an elite high school. Also out this week is ‘Spencer (스펜서), a biopic of Princess Diana, starring Kristen Stewart. Our critics Jason Bechervaise and Darcy Paquet provide their thoughts on the films. Next Week From Seoul with Richard Larkin: - Amended social distancing rules start Monday, with caps on private gatherings in South Korea going up from six to eight people. - Former President Park Geun-hye is expected to be discharged from hospital. - Professor Bae Il-hwan and students of Ewha Womans University's College of Music will begin lunchtime concerts in front of the Russian Embassy to wish for peace in Ukraine.

Friend of the show, Mandy Wilson Rosen is back to co-host with me this week! Welcome back, Mandy! At a recent artist meet up on Clubhouse, we learned that many many artists cite "The Spiritual in Art: Abstract Painting 1890-1985" ed. Maurice Tuchman/LACMA as their most prized book on their studio bookshelf. Neither of us had heard of the book before, so we set about to find out what all the fuss was about. The book is a TOME (heavy as a brick, dense as a neutron star and 430 pages) and out of print, but available used on Ebay and Amazon...and at other used book sellers. Mandy and I collected our thought forms, focused our internal eyes, and ascended to a higher plane ...and dove in. Artists mentioned in this episode were: Paul Gauguin, Paul Serusier, Paul Ranson, Émile Schuffenecker, Édouard Vuillard, The Nabis, Le Lotus Bleu (periodical), Odilon Redon, Hilma Af Klint, Edvard Munch, Wassily Kandinsky, Johannes Itten, Umberto Boccioni, Ralph Waldo Emerson (poet), Henry David Thoreau (poet), Walt Whitman (poet), William Blake, Arthur Dove, Georgia O'Keeffe, Marsden Hartley, Albert Pinkham Ryder, Jackson Pollock, Navajo Sand Painters, Hohokam pottery showing Kokopelli, Eskimo/Inuit shaman masks, Agnes Pelton, Raymond Johnson, Nikolei Roerich, Kazimir Malevich, The Suprematists, Mikhail Matyushin, Vladimir Tatlin, Vasilisk Gnedov (poet), Pavel Filonov, Piet Mondrian, Theo van Doesburg, De Stijl movement, Max Weber Also, have a look at the fascinating "Thought-Forms: A Record of Clairvoyant Investigation" by Annie Besant and C.W. Leadbeater free online at Project Gutenberg: https://www.gutenberg.org/files/16269/16269-h/16269-h.htm Also, also, see Mandy's new number series here: https://mandolynwilsonrosen.com/section/501297-painting-collage.html Please check out the @peptalksforartists instagram in a special "stories highlight" because this episode is chock-a-block with references to specific paintings that we'd love for you to see. I've made a special IG story collection for this episode because there were too many to fit in a post! Thanks! Support the Peps by making a Donation, reviewing us on Apple Podcasts or following us on Instagram to see more images illustrating this episode: @peptalksforartists. All licensed music is from Soundstripe. --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

This week I was really excited to have Sharon Butler on the podcast for the second installment of my "Interview the Interviewer" series. Sharon is a painter, writer and founder of the Two Coats of Paint Blog-azine which offers a space for alternative critical writing for the arts in the New York/Tri-State area. We nerd-ed out about paint brushes, spoke about her "Good Morning" drawings, and about allowing "bad" compositions into your work. We also talked about Two Coats of Paint's role in the NY art world and how to get started art writing. Check out the links below for more info about her projects: Sharon Butler Website: https://www.sharonlbutler.com/ Two Coats of Paint: https://www.twocoatsofpaint.com/ Norte Maar at the Brooklyn Ballet: http://www.brooklynballet.org/brooklyn-ballet-presents/counterpointe Curating Conteporary: http://www.curatingcontemporary.com/ Figure/Ground Interview w/ Sharon Butler: http://figureground.org/a-conversation-with-sharon-butler/ Review of Sharon's show by artist, Paul D'Agostino in Hyperallergic: https://hyperallergic.com/461289/sharon-butler-new-paintings-theodore-art/ Artists mentioned: On Kawara, Kazimir Malevich, Arte Povera movement, Alberto Burri at the Guggenheim, Piero Manzoni's Artist's Sh*t, Charles Burchfield's secret symbols, Holly Coulis at Klaus von Nichtssagend, Susan Carr, Julie Torres & Ellen Letcher of Labspace, Brian Edmonds of Curating Contemporary, Julia Gleich, Choreographer, Two Coats residents: Deborah Zlotsky & Afarin Ramanifar, Martin Puryear prints This talk originally aired as a live event on the Clubhouse App, Jan 10, 2021. Please subscribe to get new episodes as soon as they release, and also please connect with the podcast on Instagram at @peptalksforartists and check out the bonus images that go with this episode. Thanks for listening! --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

Welcome back to the Brutal South podcast, Episode 27.I guess this was inevitable: We're going to talk about critical race theory, both as an actual framework for understanding the world and as a mostly unrelated buzzword that conservatives have been screeching about nonstop since this summer.It's been more than 3 months since I put out an episode, and customarily this is where I as a podcast host would apologize or make some retroactive announcement that this is actually season 2 or whatever. Honestly I was just busy and tired. But I'm glad to be back at it, and this was a banger of a topic to jump back in on. I wrapped up recording with my guests the other night and I remembered what a joy this was — learning, talking to people, expanding my horizons.My guests today are AJ Davis (@Anjene1976) and Dr. Davíd G. Martínez (@FromFireToTable). AJ is an educator and community education advocate here in Charleston County, and Davíd is an assistant professor in the College of Education at my alma mater, the University of South Carolina, where he studies education funding and policy. I brought them on because they each had a unique perspective on this latest right-wing freakout from their vantage points in K-12 and higher education, respectively. I also knew them a little bit from my previous work as an education reporter in South Carolina, and they're the kind of people I would interview and think, "Man, I wish everybody could hear this entire conversation."One piece of reporting I did during my podcast hiatus was an August 25 piece in the newsletter called “Blueprint for a race panic." Basically, I was trying to figure out why and how South Carolina's superintendent of education, Molly Spearman, put out a blanket condemnation of "critical race theory" earlier this year, so I put in a Freedom of Information request for her emails on the subject, fought back against some petty price gouging for public records, raised the money to pay for the records, and put them all out there for anyone to read. Here's one of the truly unhinged constituent emails she received on May 22:Critical race theory is already in our schools. It is absurd that it even exist … It’s time to stand and do what we are paying you to do. LETS DO IT TOGETHER AND RALLY PARENTS UP TO BACK US ON IT!!!!!! FIRE ALL PRINCIPALS AND TEACHERS THAT BELIEVE IN ALL THIS CRAP!! FIRE FIRE FIRE FIRE FIRE FIRE FIRE THEM ALL FIRE THEM ALL NOW MAKE THEM WORK IN A BLUE STATE FIRE FIRE FIRE FIRE FIRE THEM ALL!!!!!  NOW!!!!!!So, these are the kind of philosopher kings we're dealing with right now, and that's the tenor of the public debate we are trying to intervene in today.One bill I'll be keeping an eye on come January 2022 is South Carolina House Bill 4325, which states that public schools may not "direct or otherwise compel students to personally affirm, adopt, or adhere to the tenets of critical race theory." This slapdash reactionary bill was introduced this May and is sitting in the Education and Public Works Committee right now waiting for the General Assembly to come back. Its sponsors include Rep. Rita Allison, the chairwoman of the Education and Public Works Committee.Folks, I don't love it, and I'd love it if you joined me in raising holy hell about this obvious attempted censorship.***The episode art is “Three Woman Figures” (1930) by Kazimir Malevich. The theme music for the podcast is “Crooked Cross” from the album Words Are Fragile Vessels by my band, The Camellias, which you can stream or purchase at camellias.bandcamp.com.Brutal South is an independent podcast and newsletter recorded, written, and produced by me, Paul Bowers, at home in lovely North Charleston, South Carolina. If you would like to support this work and get access to some exclusive content as well as some cool vinyl stickers that I'll send you in the mail, subscriptions are $5 a month at brutalsouth.substack.com/subscribe. This is a public episode. Get access to private episodes at brutalsouth.substack.com/subscribe

It's a podcast of extraordinary magnitude as Arianne joins Kevin and Mike for a meticulous dissection of the 2011 album Lulu. This controversial collab between Lou Reed and Metallica has garnered voluminous quantities of scorn and derision in the decade since its release, but our troika revisits the work from our own unique perspectives, sharing our respective interpretations of every facet of this avant-garde objet d'art. From Frank Wedekind to Kazimir Malevich and from crust punk to Jonathan Coulton, this episode pulls together the spheres of history, literature, and music to determine whether Lulu is a sporting case of jinkies and zoinks, or a caustic concoction of milk and Red Bull.

Marina Person traz, no quinto episódio do podcast “Bienal, 70 anos”, detalhes sobre as mostras realizadas nos anos 90. Teve recorde no número de países participantes (70 na edição de 1994), a arte abstrata do russo Kazimir Malevich, os murais do mexicano Diego Rivera, a pirotecnia de Cai Guo Qiang, a “Bienal da Antropofagia”, peças dos brasileiros Hélio Oiticica, Adriana Varejão, Cildo Meireles e também a internet como obra de arte.

Often known as the "Queen of the Curve," Zaha Hadid was one of the most admired and extraordinary architects of her time. Forbes even named her among the 100 most powerful women in the world. Her daring and unconventional buildings tiptoe the line between fantasy and reality, changing our understanding of what architecture can do. She has won some of the world's top honors in the realm of architecture, including the Pritzker Prize. So, why are Zaha Hadid's buildings so extraordinary? What influences her signature style? Finally, is it true that her inspiration comes from the ‘Black Square' author, Kazimir Malevich? Keep watching to find out! #ZahaHadid #Architecture #CuriousMuse https://curiousmuse.org/

Hoy hablamos de las decisiones previas antes de fotografiar una escena y Sandra nos presenta el trabajo del fotógrafo Alexey Titarenko.    >   TALLERES DE FOTOGRAFÍA Ya están disponibles las fechas para los Talleres de Fotografía de Paisaje que formarán parte de mi oferta formativa para el próximo otoño. Si te apetece acompañarme en nuevas aventuras fotográficas, respetando todas las medidas de seguridad, echa un vistazo. Plazas limitadas.  Talleres de Otoño con Rafa Irusta DECISIONES PREVIAS ANTES DE FOTOGRAFIAR UNA ESCENA En el Episodio 49 explicábamos nuestro flujo de trabajo de forma global pero en esta ocasión, nos vamos a centrar en ese momento previo a pulsar el click del disparador. APROXIMACIÓN A LA ESCENA. ALGUNOS CONSEJOS Intenta llegar con antelación a las localizaciones. Es mejor esperar a que llegue la luz que verla de camino mientras te acercas al punto elegido. Recorre la localización cámara en mano. Elección de la focal adecuada. Debes analizar la escena y decidir en consecuencia. Puede ser buena idea educar el ojo revisando fotos con datos EXIF para aprender a elegir la focal más conveniente. Tanto en Flickr como en 500px las imágenes suelen mostrar los datos de la toma. Aprende a colocar y ajustar el trípode correctamente. ENLACES DE INTERÉS DH 049 Cómo mejorar el flujo de trabajo en Fotografía de Paisaje. Apoya a Sandra para mejorar su equipo de grabación. Grupo en Telegram, donde la comunidad de oyentes comentan temas relacionados con los contenidos del podcast y la fotografía en general. Mi canal en YouTube. MI EQUIPO FOTOGRÁFICO Te dejo la lista con el equipo que utilizo en mis salidas fotográficas.  FOTÓGRAFO DESTACADO En este episodio Sandra nos presenta el trabajo del fotógrafo Alexey Titarenko. Nombre: Alexey Titarenko Página web: http://www.alexeytitarenko.com Instagram: https://www.instagram.com/alexey_titarenko_photo ¿Por qué destaca? Alexey Titarenko es un fotografo documental ruso. Nace en Leningrado, hoy San Petersburgo en 1962. Comenzó a tomar fotografías en 1971, a la edad de nueve años, y se graduó de la Universidad Pública de Leningrado de Profesiones relacionadas con la sociedad en 1978 con un título en Fotoperiodismo. Actualmente vive y trabaja en Nueva York (EE. UU.). Su primer éxito profesional le llega con su serie de collages y fotomontajes titulada “Nomenklatura of Signs” (“Nomeklatura de los Signos”). Es una crítica mordaz de la burocracia soviética que se basa en la estética de Kazimir Malevich, Aleksandr Rodchenko y otros artistas de la vanguardia rusa de principios del siglo XX. Alexey tuvo que realizarla trabajando en secreto. La idea tras esta serie es una traducción visual de la vida soviética expresando su absurdo, y exponiendo el régimen comunista como un sistema opresivo que convertía a los ciudadanos en meros signos. Alexey saltó a la fama internacional a principios de la década de 1990 por “City of Shadows” (“Ciudad de las Sombras”), una serie de fotografías de su ciudad natal realizadas tras la caída de la Unión Soviética e inspiradas en la música de Dmitri Shostakovich y las novelas de Fiódor Dostoievski. La aplicación por parte de Titarenko de largas exposiciones, movimientos intencionados de la cámara y técnicas expertas de grabado a la fotografía de calle lleva a reflexionar sobre un paisaje urbano todavía impregnado de una historia de sufrimiento. En la década siguiente, su búsqueda de la ciudad de su juventud le lleva a lugares tan lejanos como Venecia (a San Petersburgo se la conoce como "la Venecia del Norte" por sus canales y a la influencia de los arquitectos europeos que ayudaron a construir la ciudad) y La Habana, cuyas calles y edificios siguen congelados en el tiempo e irremediablemente ligados a la era soviética. En los últimos años, Titarenko ha dirigido su cámara y su mirada hacia una ciudad muy diferente: Nueva York.

Suprematist art appears simple and non-controversial at first glance, but these geometric paintings by Kazimir Malevich, Olga Rozanova, and El Lissitzky were revolutionary. Listen as Klaire Lockheart examines Russian avant-garde artwork and art forgeries. Artists and Artwork: Mary Cassatt, Kazimir Malevich (The Black Square, Painterly Realism of a Boy with a Knapsack - Color Masses in the Fourth Dimension, Suprematist Composition), Olga Rozanova (Airplanes over the City, Non-Objective Composition. Color Painting,) and El Lissitzky (Prounenraum, Proun 12E) Additional Topics: Impressionism, Abstract Art, Art Education, 0, 10: The Last Futurist Exhibition, Theosophy, Alphonse Allais, Alexei Kruchenykh, Faktura, and Forged Art klairelockheart.com instagram.com/klairelockheart facebook.com/klairealockheart

1862 Nasce lo scrittore austriaco Arthur Schnitzler - 1935 Muore il pittore Kazimir Malevich

Un día como hoy, 23 de febrero: Nace: 1685: Georg Friedrich Händel, compositor británico de origen alemán (f. 1759). 1878: Kazimir Malevich, pintor ucraniano (f. 1935). 1882: B. Traven, actor y novelista alemán (f. 1969). 1889: Victor Fleming, cineasta estadounidense (f. 1949). 1965: Sylvie Guillem, bailarina y coreógrafa francesa. 1983: Emily Blunt, actriz británica. Fallece: 1821: John Keats, poeta británico (n. 1795). 1934: Edward Elgar, compositor británico (n. 1857). Una producción de Sala Prisma Podcast. 2021

Eğer destekte bulunmak istiyorsanız, lütfen Patreon sayfamı ziyaret edin, link - https://www.patreon.com/amanov Soyut (Abstre) Sanat Nedir? Soyut Sanat Akımı Nedir? Soyut sanat, genel anlamıyla doğada varolan gerçek nesneleri betimlemek yerine, biçimler ve renklerin, temsili olmayan veya öznel kullanımı ile yapılan sanata denir. Nonfigüratif sanat terimi ile değişmeli olarak kullanılır. 20. yüzyıl başında bu terim, gerçek biçimleri sadeleştirilmiş veya değiştirilmiş halleriyle imgelere indirgeyen Kübist ve Fütürist sanatı tanımlamak için de kullanılmıştır. Abstre ya da Nonfigürativ (figürsüz) diye de adlandırılır. Tags: Abstract art, Wassily Kandinsky, Kazimir Malevich, Alexander Rodchenko, Olga Rozanova, Lyubov Popova, Geometric abstraction, Suprematism, Süprematizm Yazar: Öğr. Gör. Sinem Kırdemir (Ankara Üniversitesi) Seslendiren: Amanov Shamsaddin --- Send in a voice message: https://anchor.fm/amanov-shamsaddin/message

Un día como hoy, 11 de febrero. Nace: 1869: Else Lasker-Schüler, poeta y escritora alemana. 1878: Kazimir Malevich, pintor ruso. 1909: Joseph L. Mankiewicz, cineasta estadounidense. Fallece: 1650: René Descartes, filósofo y matemático francés. 1879: Honoré Daumier, pintor y caricaturista francés. 1948: Serguéi Eisenstein, director ruso de teatro y cine. 1963: Sylvia Plath, poetisa y novelista estadounidense. Una producción de Sala Prisma Podcast. 2021

俄羅斯是美女製造機強國、曾經共產主義烏托邦發源地，除此之外，你又對俄羅斯了解多少呢？ 在俄羅斯經濟發展和歐化的過程中，西歐宮廷藝術深遠影響著俄羅斯，包含肖像畫、洛可可風格和古典主義繪畫等相繼傳到俄羅斯。 1917年俄國發生兩次革命，沙皇退位，共產黨掌權。革命成功代表建立理想社會的可能，這帶給俄國前衛主義者莫大的鼓舞。 馬列維奇（Kazimir Malevich）於此時提出了顛覆傳統的宣言─「至上主義」（Suprematism），至今仍被視為現代藝術史上最重要的革新之一。 馬列維奇當初提出的至上主義即便到了現代仍未完全被世人消化，他是一個理想家，利西茨基卻是一位實業家，將馬列維奇的理論實用化。

Myroslav Shkandrij's Avant-Garde Art in Ukraine, 1910-1930: Contested Memory (Academic Studies Press, 2019) offers an insight into the development of the Ukrainian avant-garde, a topic which still remains unjustifiably understudied. The book is an important contribution to the reevaluation of the artistic legacies of the world-renowned artists: Kazimir Malevich, David Burliuk, Mykhailo Boichuk, Vadym Meller, Ivan Kavaleridze, and Dziga Vertov. As the title of the book prompts, the focus is made on the Ukrainian heritage and background that the above-mentioned artists manifested in and through their works. Here Shkandrij initiates an intervention into the scholarship that for many years dismissed the Ukrainian contribution when discussing the avant-garde development. Drawing attention to national and ethnic choices that the artists used to make, but which happened to be silenced or ignored in the subsequent critical reviews and investigations, the book, however, does not suggest to embrace a one-sided approach. Shkandrij balances the local and international contexts when outlining the Ukrainian color of the avant-garde artists that became recognized world-wide. Avant-Garde Art in Ukraine provides complex and multilayered milieus that help better understand how the Ukrainian pattern became to be dismissed or devalued in the conversations about the international avant-garde. The book welcomes a multifaceted approach to the discussion of how the artists developed their techniques, which seem to have responded to a multinational and multiethnic environment which appeared authentic for Ukraine at the beginning of the twentieth century. The subtitle of the book—contested memory—is a welcoming gesture towards further investigations of the Ukrainian avant-garde, which appears to be inherently grounded in a diversity of influences and overlaps that establish deep cultural bonds with the international movement. Learn more about your ad choices. Visit megaphone.fm/adchoices

Myroslav Shkandrij’s Avant-Garde Art in Ukraine, 1910-1930: Contested Memory (Academic Studies Press, 2019) offers an insight into the development of the Ukrainian avant-garde, a topic which still remains unjustifiably understudied. The book is an important contribution to the reevaluation of the artistic legacies of the world-renowned artists: Kazimir Malevich, David Burliuk, Mykhailo Boichuk, Vadym Meller, Ivan Kavaleridze, and Dziga Vertov. As the title of the book prompts, the focus is made on the Ukrainian heritage and background that the above-mentioned artists manifested in and through their works. Here Shkandrij initiates an intervention into the scholarship that for many years dismissed the Ukrainian contribution when discussing the avant-garde development. Drawing attention to national and ethnic choices that the artists used to make, but which happened to be silenced or ignored in the subsequent critical reviews and investigations, the book, however, does not suggest to embrace a one-sided approach. Shkandrij balances the local and international contexts when outlining the Ukrainian color of the avant-garde artists that became recognized world-wide. Avant-Garde Art in Ukraine provides complex and multilayered milieus that help better understand how the Ukrainian pattern became to be dismissed or devalued in the conversations about the international avant-garde. The book welcomes a multifaceted approach to the discussion of how the artists developed their techniques, which seem to have responded to a multinational and multiethnic environment which appeared authentic for Ukraine at the beginning of the twentieth century. The subtitle of the book—contested memory—is a welcoming gesture towards further investigations of the Ukrainian avant-garde, which appears to be inherently grounded in a diversity of influences and overlaps that establish deep cultural bonds with the international movement. Learn more about your ad choices. Visit megaphone.fm/adchoices

Myroslav Shkandrij’s Avant-Garde Art in Ukraine, 1910-1930: Contested Memory (Academic Studies Press, 2019) offers an insight into the development of the Ukrainian avant-garde, a topic which still remains unjustifiably understudied. The book is an important contribution to the reevaluation of the artistic legacies of the world-renowned artists: Kazimir Malevich, David Burliuk, Mykhailo Boichuk, Vadym Meller, Ivan Kavaleridze, and Dziga Vertov. As the title of the book prompts, the focus is made on the Ukrainian heritage and background that the above-mentioned artists manifested in and through their works. Here Shkandrij initiates an intervention into the scholarship that for many years dismissed the Ukrainian contribution when discussing the avant-garde development. Drawing attention to national and ethnic choices that the artists used to make, but which happened to be silenced or ignored in the subsequent critical reviews and investigations, the book, however, does not suggest to embrace a one-sided approach. Shkandrij balances the local and international contexts when outlining the Ukrainian color of the avant-garde artists that became recognized world-wide. Avant-Garde Art in Ukraine provides complex and multilayered milieus that help better understand how the Ukrainian pattern became to be dismissed or devalued in the conversations about the international avant-garde. The book welcomes a multifaceted approach to the discussion of how the artists developed their techniques, which seem to have responded to a multinational and multiethnic environment which appeared authentic for Ukraine at the beginning of the twentieth century. The subtitle of the book—contested memory—is a welcoming gesture towards further investigations of the Ukrainian avant-garde, which appears to be inherently grounded in a diversity of influences and overlaps that establish deep cultural bonds with the international movement. Learn more about your ad choices. Visit megaphone.fm/adchoices

Myroslav Shkandrij’s Avant-Garde Art in Ukraine, 1910-1930: Contested Memory (Academic Studies Press, 2019) offers an insight into the development of the Ukrainian avant-garde, a topic which still remains unjustifiably understudied. The book is an important contribution to the reevaluation of the artistic legacies of the world-renowned artists: Kazimir Malevich, David Burliuk, Mykhailo Boichuk, Vadym Meller, Ivan Kavaleridze, and Dziga Vertov. As the title of the book prompts, the focus is made on the Ukrainian heritage and background that the above-mentioned artists manifested in and through their works. Here Shkandrij initiates an intervention into the scholarship that for many years dismissed the Ukrainian contribution when discussing the avant-garde development. Drawing attention to national and ethnic choices that the artists used to make, but which happened to be silenced or ignored in the subsequent critical reviews and investigations, the book, however, does not suggest to embrace a one-sided approach. Shkandrij balances the local and international contexts when outlining the Ukrainian color of the avant-garde artists that became recognized world-wide. Avant-Garde Art in Ukraine provides complex and multilayered milieus that help better understand how the Ukrainian pattern became to be dismissed or devalued in the conversations about the international avant-garde. The book welcomes a multifaceted approach to the discussion of how the artists developed their techniques, which seem to have responded to a multinational and multiethnic environment which appeared authentic for Ukraine at the beginning of the twentieth century. The subtitle of the book—contested memory—is a welcoming gesture towards further investigations of the Ukrainian avant-garde, which appears to be inherently grounded in a diversity of influences and overlaps that establish deep cultural bonds with the international movement. Learn more about your ad choices. Visit megaphone.fm/adchoices

Myroslav Shkandrij’s Avant-Garde Art in Ukraine, 1910-1930: Contested Memory (Academic Studies Press, 2019) offers an insight into the development of the Ukrainian avant-garde, a topic which still remains unjustifiably understudied. The book is an important contribution to the reevaluation of the artistic legacies of the world-renowned artists: Kazimir Malevich, David Burliuk, Mykhailo Boichuk, Vadym Meller, Ivan Kavaleridze, and Dziga Vertov. As the title of the book prompts, the focus is made on the Ukrainian heritage and background that the above-mentioned artists manifested in and through their works. Here Shkandrij initiates an intervention into the scholarship that for many years dismissed the Ukrainian contribution when discussing the avant-garde development. Drawing attention to national and ethnic choices that the artists used to make, but which happened to be silenced or ignored in the subsequent critical reviews and investigations, the book, however, does not suggest to embrace a one-sided approach. Shkandrij balances the local and international contexts when outlining the Ukrainian color of the avant-garde artists that became recognized world-wide. Avant-Garde Art in Ukraine provides complex and multilayered milieus that help better understand how the Ukrainian pattern became to be dismissed or devalued in the conversations about the international avant-garde. The book welcomes a multifaceted approach to the discussion of how the artists developed their techniques, which seem to have responded to a multinational and multiethnic environment which appeared authentic for Ukraine at the beginning of the twentieth century. The subtitle of the book—contested memory—is a welcoming gesture towards further investigations of the Ukrainian avant-garde, which appears to be inherently grounded in a diversity of influences and overlaps that establish deep cultural bonds with the international movement. Learn more about your ad choices. Visit megaphone.fm/adchoices

Myroslav Shkandrij’s Avant-Garde Art in Ukraine, 1910-1930: Contested Memory (Academic Studies Press, 2019) offers an insight into the development of the Ukrainian avant-garde, a topic which still remains unjustifiably understudied. The book is an important contribution to the reevaluation of the artistic legacies of the world-renowned artists: Kazimir Malevich, David Burliuk, Mykhailo Boichuk, Vadym Meller, Ivan Kavaleridze, and Dziga Vertov. As the title of the book prompts, the focus is made on the Ukrainian heritage and background that the above-mentioned artists manifested in and through their works. Here Shkandrij initiates an intervention into the scholarship that for many years dismissed the Ukrainian contribution when discussing the avant-garde development. Drawing attention to national and ethnic choices that the artists used to make, but which happened to be silenced or ignored in the subsequent critical reviews and investigations, the book, however, does not suggest to embrace a one-sided approach. Shkandrij balances the local and international contexts when outlining the Ukrainian color of the avant-garde artists that became recognized world-wide. Avant-Garde Art in Ukraine provides complex and multilayered milieus that help better understand how the Ukrainian pattern became to be dismissed or devalued in the conversations about the international avant-garde. The book welcomes a multifaceted approach to the discussion of how the artists developed their techniques, which seem to have responded to a multinational and multiethnic environment which appeared authentic for Ukraine at the beginning of the twentieth century. The subtitle of the book—contested memory—is a welcoming gesture towards further investigations of the Ukrainian avant-garde, which appears to be inherently grounded in a diversity of influences and overlaps that establish deep cultural bonds with the international movement. Learn more about your ad choices. Visit megaphone.fm/adchoices

Myroslav Shkandrij’s Avant-Garde Art in Ukraine, 1910-1930: Contested Memory (Academic Studies Press, 2019) offers an insight into the development of the Ukrainian avant-garde, a topic which still remains unjustifiably understudied. The book is an important contribution to the reevaluation of the artistic legacies of the world-renowned artists: Kazimir Malevich, David Burliuk, Mykhailo Boichuk, Vadym Meller, Ivan Kavaleridze, and Dziga Vertov. As the title of the book prompts, the focus is made on the Ukrainian heritage and background that the above-mentioned artists manifested in and through their works. Here Shkandrij initiates an intervention into the scholarship that for many years dismissed the Ukrainian contribution when discussing the avant-garde development. Drawing attention to national and ethnic choices that the artists used to make, but which happened to be silenced or ignored in the subsequent critical reviews and investigations, the book, however, does not suggest to embrace a one-sided approach. Shkandrij balances the local and international contexts when outlining the Ukrainian color of the avant-garde artists that became recognized world-wide. Avant-Garde Art in Ukraine provides complex and multilayered milieus that help better understand how the Ukrainian pattern became to be dismissed or devalued in the conversations about the international avant-garde. The book welcomes a multifaceted approach to the discussion of how the artists developed their techniques, which seem to have responded to a multinational and multiethnic environment which appeared authentic for Ukraine at the beginning of the twentieth century. The subtitle of the book—contested memory—is a welcoming gesture towards further investigations of the Ukrainian avant-garde, which appears to be inherently grounded in a diversity of influences and overlaps that establish deep cultural bonds with the international movement. Learn more about your ad choices. Visit megaphone.fm/adchoices

Do not take the word of truth out of my mouth, for my hope is in your judgments. ~ Psalms 19:43 Image: Молящаяся женщина (Praying Woman), Kazimir Malevich, 1912 --- Send in a voice message: https://anchor.fm/bob-johnson9/message Support this podcast: https://anchor.fm/bob-johnson9/support

This podcast discusses the life and works of John Luther Adams. Pieces mentioned in this episode:The Wind in High Places: John Luther AdamsThe Farthest Place: John Luther AdamsRothko Chapel: Morton Feldmansongbirdsongs: John Luther AdamsNight Peace: John Luther AdamsEarth and the Great Weather: John Luther AdamsDream in White on White: John Luther AdamsIn the White Silence: John Luther AdamsThe Immeasurable Space of Tones: John Luther AdamsThe Place Where You Go to Listen: John Luther AdamsBecome Ocean: John Luther AdamsBecome Desert: John Luther AdamsAdditional music crafted by yours truly.*At this time, there is no official recording for Become River, however, Adams has indicated an anticipated released date sometime around Fall 2020. Further Listening:Meet the Composer Episode: https://www.wnyc.org/story/john-luther-adams-bad-decisions-and-finding-home/Further Reading: http://johnlutheradams.net/category/writings/*Adams will be releasing another book, called Silences so Deep, in September. You can pre-order the memoir here: https://us.macmillan.com/books/9780374264628Further Viewing:More information on Minimalist Art (Applies to music, though composers aren't mentioned in this video): https://www.youtube.com/watch?v=XEi0Ib-nNGoLecture presented by JLA: https://www.youtube.com/watch?v=wWG0zpPOGcQI mentioned Jackson Pollock and Kazimir Malevich several times, so I thought I'd a link for each of them in case you're not as familiar with their art.JP: https://www.moma.org/artists/4675KM: https://www.kazimir-malevich.org/

In this episode Mildred and Lou host guest scholar Irina to discuss her doctoral research on early 20th century Russian artist Kazimir Malevich.  His work was influenced by esoteric concepts including various forms of mysticism, and theoretical mathematical concepts like the 4th dimension and imaginary numbers.  Roles are reversed as Lou discusses science and Mildred references cartoons. music by V►LH►LL vlhll.bandcamp.com

Two invited experts, Christiane Paul (Pt.I) and Michael Connor (Pt.II), will shed their light on the work and reflect on the past, present and future of making, presenting and curating work online. Rafaël Rozendaal Rafaël Rozendaal (1980) is a Dutch-Brazilian artist who currently lives in New York. His artistic practice comprises websites, installations, prints and writing and is as innovative as it is rooted in art history. His work takes shape through a range of transformations – from movement into abstraction, from virtual into physical space, and from website to print – with all of them informing each other. Open access to his websites is of great importance to him. Collectors and collections must, once purchased, keep the work online and publicly accessible. The way in which Rozendaal uses the internet in its work goes beyond the browser. The internet is his canvas, but he also brings the aesthetics of the internet to the physical and poetic space in the form of carpets, haikus and installations. Christiane Paul Christiane Paul is Chief Curator / Director of the Sheila C. Johnson Design Center and Professor in the School of Media Studies at The New School, as well as Adjunct Curator of Digital Art at the Whitney Museum of American Art. Paul is the recipient of the Thoma Foundation's 2016 Arts Writing Award in Digital Art. At the Whitney Museum she curated multiple exhibitions and is responsible for artport, the museum’s portal to Internet art. Other curatorial work includes The Question of Intelligence (Kellen Gallery, The New School, NYC, 2020). Little Sister (is watching you, too) (Pratt Manhattan Gallery, NYC, 2015); and What Lies Beneath (Borusan Contemporary, Istanbul, 2015). Cultural Matter: Rafaël Rozendaal Rafaël Rozendaal is an artist who works with the materiality of the Internet. Many of his artworks are at home on the web, and deal with the context that this specific environment offers. Since 2000, Rozendaal has created dozens of generative websites, characterized by an abstract and colorful visual language. This online edition of Cultural Matter 2019-20, will present a selection of ten websites by Rozendaal that gives a broad overview of his online practice and demonstrates his interest in art history, geometric abstraction and animation. With shapes that are reminiscent of Kazimir Malevich's early abstract experiments and animations that bring to mind Suprematist compositions in motion, some of the websites seem indebted to the early experiments with abstraction of the Russian avant-garde. A number of websites reflect the tension between the manifestation of digital and physical reality, or contain a pronounced degree of suppressed emotion: a work like deepsadness.com seems to be about endlessness and loss. Cultural Matter Cultural Matter is a series of exhibitions and events that provide a platform for the international discussion of digital art and highlights the enduring expressive power of digital artworks: works in which art and technology and the past and the future come together in a way that is as logical as it is groundbreaking. Also part of this series: JODI, Jonas Lund, Martine Neddam, Thomson & Graighead, Amalia Ulman Curated by: Sanneke Huisman and Jan Robert Leegte. Exhibition May 6 - June 27, 2020 24/7 ONLINE Design by Lisa Arkhangelskaya This programme is supported by the AFK (Amsterdam Fund for the Arts) and Stichting Niemeijer Fonds.

In The Icon and the Square: Russian Modernism and the Russo-Byzantine Revival (Penn State University Press, 2018), Maria Taroutina examines how the traditional interests of institutions such as the crown, the church, and the Imperial Academy of Arts temporarily aligned with the radical, leftist, and revolutionary avant-garde at the turn of the twentieth century through a shared interest in the Byzantine past, offering a counternarrative to prevailing notions of Russian modernism. Focusing on the works of four different artists—Mikhail Vrubel, Vasily Kandinsky, Kazimir Malevich, and Vladimir Tatlin—Taroutina shows how engagement with medieval pictorial traditions drove each artist to transform his own practice, pushing beyond the established boundaries of his respective artistic and intellectual milieu. She also contextualizes and complements her study of the work of these artists with an examination of the activities of a number of important cultural associations and institutions over the course of several decades. As a result, The Icon and the Square gives a more complete picture of Russian modernism: one that attends to the dialogue between generations of artists, curators, collectors, critics, and theorists. The Icon and the Square retrieves a neglected but vital history that was deliberately suppressed by the atheist Soviet regime and subsequently ignored in favor of the secular formalism of mainstream modernist criticism. Taroutina's timely study, which coincides with the centennial reassessments of Russian and Soviet modernism, is sure to invigorate conversation among scholars of art history, modernism, and Russian culture. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Icon and the Square: Russian Modernism and the Russo-Byzantine Revival (Penn State University Press, 2018), Maria Taroutina examines how the traditional interests of institutions such as the crown, the church, and the Imperial Academy of Arts temporarily aligned with the radical, leftist, and revolutionary avant-garde at the turn of the twentieth century through a shared interest in the Byzantine past, offering a counternarrative to prevailing notions of Russian modernism. Focusing on the works of four different artists—Mikhail Vrubel, Vasily Kandinsky, Kazimir Malevich, and Vladimir Tatlin—Taroutina shows how engagement with medieval pictorial traditions drove each artist to transform his own practice, pushing beyond the established boundaries of his respective artistic and intellectual milieu. She also contextualizes and complements her study of the work of these artists with an examination of the activities of a number of important cultural associations and institutions over the course of several decades. As a result, The Icon and the Square gives a more complete picture of Russian modernism: one that attends to the dialogue between generations of artists, curators, collectors, critics, and theorists. The Icon and the Square retrieves a neglected but vital history that was deliberately suppressed by the atheist Soviet regime and subsequently ignored in favor of the secular formalism of mainstream modernist criticism. Taroutina’s timely study, which coincides with the centennial reassessments of Russian and Soviet modernism, is sure to invigorate conversation among scholars of art history, modernism, and Russian culture. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Icon and the Square: Russian Modernism and the Russo-Byzantine Revival (Penn State University Press, 2018), Maria Taroutina examines how the traditional interests of institutions such as the crown, the church, and the Imperial Academy of Arts temporarily aligned with the radical, leftist, and revolutionary avant-garde at the turn of the twentieth century through a shared interest in the Byzantine past, offering a counternarrative to prevailing notions of Russian modernism. Focusing on the works of four different artists—Mikhail Vrubel, Vasily Kandinsky, Kazimir Malevich, and Vladimir Tatlin—Taroutina shows how engagement with medieval pictorial traditions drove each artist to transform his own practice, pushing beyond the established boundaries of his respective artistic and intellectual milieu. She also contextualizes and complements her study of the work of these artists with an examination of the activities of a number of important cultural associations and institutions over the course of several decades. As a result, The Icon and the Square gives a more complete picture of Russian modernism: one that attends to the dialogue between generations of artists, curators, collectors, critics, and theorists. The Icon and the Square retrieves a neglected but vital history that was deliberately suppressed by the atheist Soviet regime and subsequently ignored in favor of the secular formalism of mainstream modernist criticism. Taroutina’s timely study, which coincides with the centennial reassessments of Russian and Soviet modernism, is sure to invigorate conversation among scholars of art history, modernism, and Russian culture. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Icon and the Square: Russian Modernism and the Russo-Byzantine Revival (Penn State University Press, 2018), Maria Taroutina examines how the traditional interests of institutions such as the crown, the church, and the Imperial Academy of Arts temporarily aligned with the radical, leftist, and revolutionary avant-garde at the turn of the twentieth century through a shared interest in the Byzantine past, offering a counternarrative to prevailing notions of Russian modernism. Focusing on the works of four different artists—Mikhail Vrubel, Vasily Kandinsky, Kazimir Malevich, and Vladimir Tatlin—Taroutina shows how engagement with medieval pictorial traditions drove each artist to transform his own practice, pushing beyond the established boundaries of his respective artistic and intellectual milieu. She also contextualizes and complements her study of the work of these artists with an examination of the activities of a number of important cultural associations and institutions over the course of several decades. As a result, The Icon and the Square gives a more complete picture of Russian modernism: one that attends to the dialogue between generations of artists, curators, collectors, critics, and theorists. The Icon and the Square retrieves a neglected but vital history that was deliberately suppressed by the atheist Soviet regime and subsequently ignored in favor of the secular formalism of mainstream modernist criticism. Taroutina’s timely study, which coincides with the centennial reassessments of Russian and Soviet modernism, is sure to invigorate conversation among scholars of art history, modernism, and Russian culture. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Icon and the Square: Russian Modernism and the Russo-Byzantine Revival (Penn State University Press, 2018), Maria Taroutina examines how the traditional interests of institutions such as the crown, the church, and the Imperial Academy of Arts temporarily aligned with the radical, leftist, and revolutionary avant-garde at the turn of the twentieth century through a shared interest in the Byzantine past, offering a counternarrative to prevailing notions of Russian modernism. Focusing on the works of four different artists—Mikhail Vrubel, Vasily Kandinsky, Kazimir Malevich, and Vladimir Tatlin—Taroutina shows how engagement with medieval pictorial traditions drove each artist to transform his own practice, pushing beyond the established boundaries of his respective artistic and intellectual milieu. She also contextualizes and complements her study of the work of these artists with an examination of the activities of a number of important cultural associations and institutions over the course of several decades. As a result, The Icon and the Square gives a more complete picture of Russian modernism: one that attends to the dialogue between generations of artists, curators, collectors, critics, and theorists. The Icon and the Square retrieves a neglected but vital history that was deliberately suppressed by the atheist Soviet regime and subsequently ignored in favor of the secular formalism of mainstream modernist criticism. Taroutina’s timely study, which coincides with the centennial reassessments of Russian and Soviet modernism, is sure to invigorate conversation among scholars of art history, modernism, and Russian culture. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices

This homage to Kazimir Malevich is a confirmation of Tom R. Chambers' Pixelscapes as Minimalist Art and in keeping with Malevich's Suprematism - the feeling of non-objectivity - the creation of a sense of bliss and wonder via abstraction.

'De-Communisation' has become a central plank of government policy since 'Euromaidan' - the second revolution in Ukraine after independence from the USSR in 1991. Determination to erase not just the Soviet past but any possibility of left-wing radicalism is the one thing that unites the country's two largest political forces: one that represents European Union-facing neoliberalism, the other, violent Ukrainian nationalism. Often censored - or worse - during the 20th century, post-Soviet artists with socialist, feminist and/or utopian ideals have found themselves facing new forms of exclusion and oppression. How have they located themselves within the new cultural and political landscape? In this episode, Juliet - on residency at the Izolyatsia cultural foundation (https://izolyatsia.org/en) in Kyiv, where it has been in exile from its home in Donetsk since the Russian occupation in 2014 - meets artist Maria Kulikovska (https://www.mariakulikovska.com), herself in exile from Crimea, and academic Jessica Zychowicz (https://www.jeszychowicz.com), author of 'Frame Work: Art, Activism, and Biopolitics in Inter-Revolutionary Kyiv 2004-2018' (Univ. of Toronto Press) to discuss the practicalities, problems and possibilities for artists in contemporary Ukraine. On de-Communisation – https://www.theguardian.com/world/2015/apr/20/ukraine-decommunisation-law-soviet Donetsk People's Republic paramilitary takeover of Izolyatsia - https://www.youtube.com/watch?v=6GfeGF1QYP4 SELECTED REFERENCES Ukrainian/Soviet modernist artists: Aleksandr Archipenko, David Burlyuk, Aleksandra Exter, Mikhail Larionov, Kazimir Malevich, Vladimir Tatlin Executed Renaissance (inter-war literary movement) - http://euromaidanpress.com/longreads/executed-renaissance-in-ukraine/ Ivan (dir. Oleksandr Dovzhenko, 1932) - https://grunes.wordpress.com/2007/01/29/ivan-aleksandr-dovzhenko-1932/ Les Kurbas (theatre director) - http://www.kurbas.org.ua/en/centre.html Mykola Skrypnyk - https://en.wikipedia.org/wiki/Mykola_Skrypnyk Svetlana Alexeivich (memoirs) Apartment 14 (young artist who inherited apartment) Bu-Ba-Bu (poetry circle) - https://en.wikipedia.org/wiki/Bu-Ba-Bu David Chichkan - https://www.kyivpost.com/ukraine-politics/euromaidan-art-exhibition-vandalized.html Adam Curtis on Vladislav Surkov - https://www.youtube.com/watch?v=Od4MWs7qTr8 Euromaidan. Rough Cut (2014 film) - https://vimeo.com/90920946 Mayo Fryderyk – dressed as general, orange dwarf Grey Horses (dir. Mykola Ridnyi, 2016) - http://www.mykolaridnyi.com/video-works/grey-horses-1 Hometown (dir. Metahaven, 2018) - https://izolyatsia.org/en/project/hometown/hometown/ Hudrada (curatorial unit) SERHIY KOVALCHUK (ed.), Reimagining Utopias: Theory and Method for Educational Research in Post-Soviet Contexts (2017) CZESLAW MILOSZ, The Captive Mind (1953) - https://en.wikipedia.org/wiki/The_Captive_Mind MYKHAILO MINAKOV, Development and Dystopia: Studies in Post-Soviet Ukraine and Eastern Europe (2018) - http://www.minakovphilosophy.com/ Ofanziba group (Ukraine) Orange Alternative - https://culture.pl/en/article/the-orange-alternative-there-is-no-freedom-without-dwarfs Valentina Petrova Pomoranchova (Polish poetry group) Revolutionary Experimental Space (REP) - https://www.thegreenbox.net/en/books/rep-revolutionary-experimental-space SOSka art collective (Kharkiv) - http://www.mykolaridnyi.com/curatorial-projects/soska-group The Sprawl (Propaganda about Propaganda) (dir. Metahaven, 2015) - http://sprawl.space/about-the-sprawl/ Ukrainian Body exhibition - http://vcrc.org.ua/en/ukrbody/ Lesya Ukrainka Voina - https://en.wikipedia.org/wiki/Voina HAYDEN WHITE, The Content of the Form (1987)

Brace yourselves, listeners, because in this episode Allyson gets abstract and discusses Kazimir Malevich’s Black Square, often hailed as the end of traditional painting and theContinue ReadingEpisode 5: Hip to Be Square

David Norman applies his 30+ years experience in the Impressionist and Modern category to the results from this May's sales in New York where $1.5bn in Modern and Impressionist art was sold. As a result, this season the Impressionist and Modern category returns to a pride of place as the biggest market, a stature it has not held for a decade. The season was packed with stories from the Rockefeller Estate which featured an extraordinary concentration of Impressionist pictures from artists like Monet, Picasso, Gauguin, Henri Matisse, Juan Gris, Ferdnand Léger, and Georges Seurat. The biggest, and some of the most impressive, sales came from the Impressionist and Modern Evening sales where works by Modigliani, Kazimir Malevich and Constantin Brancusi set new benchmarks. Even with those successes and the stratospheric sales totals, the sales results do show that nearly a decade of uninterrupted growth in art prices may be beginning to have an effect on the market. Buyers and sellers are increasingly having a standoff over estimates and expectations. The Impressionist and Modern market is strong but picky. David Norman explains why.

Death, despair, solemnity, infinity. Our associations with the color black illustrate humanity's complicated relationship with darkness. Follow the Art History Babes into the void as they discuss the role of black in everything from portraiture in the caves of Ancient Greece to the abstract paintings of Kazimir Malevich. Check out our Patreon for bonus episodes! www.patreon.com/arthistorybabes Learn more about your ad choices. Visit podcastchoices.com/adchoices

The context of ideas from classical art such as the vanishing point and the perspective of the renaissance to the pixels of Mondrian and Kazimir Malevich. The devices and the tools that the creators of the web have permanently at hand. Goddur works as a graphic design professor at the Icelandic Academy of the Arts in Reykjavík and is without a doubt Iceland's best-known commentator on design issues. He teaches mostly theory courses and will be discussing the history of technology and design with examples of perspective tesselations and other patterns. He's been working in design since before the first Macintosh computers and has grown and learned with the technology.

Ahmir Thompson (a.k.a. Questlove of The Roots) is a very busy dude. He was feeling stretched thin, until he discovered the power of silence to let his creativity cut through the noise. To help him find that silence, he’s got one of Yves Klein’s Blue Monochrome prints on his wall at home. Abbi gets up close to one of Klein’s blue paintings and Kazimir Malevich’s “Suprematist Composition: White on White” and discovers how deep a single color can get -- if you just give it some time. Also featuring: Ellen Davis and Anne Umland Yves Klein, Blue Monochrome, 1961. Dry pigment in synthetic polymer medium on cotton over plywood, 6' 4 7/8" x 55 1/8" (195.1 x 140 cm) (The Museum of Modern Art, New York. The Sidney and Harriet Janis Collection. © 2017 Artists Rights Society (ARS), New York / ADAGP, Paris)   Kazimir Malevich, Suprematist Composition: White on White. 1918. Oil on canvas, 31 1/4 x 31 1/4" (79.4 x 79.4 cm) (Museum of Modern Art, New York. 1935 Acquisition confirmed in 1999 by agreement with the Estate of Kazimir Malevich and made possible with funds from the Mrs. John Hay Whitney Bequest (by exchange))  

Frank Stella '54 is the renowned artist he is today because of Phillips Academy. The access. The curriculum. The friendships (with fellow artists Carl Andre '53 and Hollis Frampton '54). Andover shaped the artist Stella would become. In this special episode of Every Quarter, hear the candid tales from his early years, stories of the New York art scene in the sixties and why he keeps coming back to where it all started. Throughout his prolific and influential career, Stella has been a major figure in the art world, internationally hailed as one of America’s most significant artists. In his paintings, metal reliefs, sculptures, and prints, he has explored abstraction, which emerged during the early twentieth century in the innovations of artists such as Vassily Kandinsky, Kazimir Malevich, Piet Mondrian, and Pablo Picasso. A pioneer of minimalism in the 1960s, Stella continues to experiment and innovate, creating some of the most daring work to be seen today.

Exhibition co-curator Professor John Milner introduces ‘Revolution: Russian Art 1917-1932’ and investigates how artists from Kazimir Malevich to Alexander Deineka made Russian art revolutionary in the first 15 years after the Bolshevik revolution of 1917. The revolution triggered radical innovations in Russian art. Encouraged to work collectively to promote the revolution, artists began to make a face for the Bolshevik regime, replacing signs of the Imperial command with an art for the people. Artists including Kandinsky, Malevich, Tatlin, Rodchenko and Popova turned the storm of the Russian Revolution into a radical experiment in art and society. In 1932, the work of these artists was celebrated and exhibited in 'Artists of the Russian Federation over Fifteen Years', a diverse survey held in Leningrad and curated by the critic Nikolai Punin. Yet later in the same year, all independent art groups were dissolved, and Socialist Realism became the dominant force in the Russian art world.

John Wilson talks to Nigel Havers and director Lucy Bailey about their revival of The Importance of Being Earnest, framed within the confines of an amateur dramatics production of the play. Art critic Charlotte Mullins reviews a major retrospective of Russian modernist Kazimir Malevich at Tate Modern. The winner of the Caine Prize for African writing, Okwiri Oduor, talks about her winning short story and the impact she hopes the prize will have on her Writing, and head judge, Jackie Kay, reveals why Okwiri's story was an unanimous winner. And author Michael Rosen on the enduring appeal of We're Going On A Bear Hunt, 25 years on and a record-beating reading.

Maria Kokkori, The Art Institute of Chicago, USA. "Materials and Meanings: analyzing Kazimir Malevich's painterly realism of a Football Player -- Color Masses in the 4th Dimension"

-De russiske futuristene. Anført av Kazimir Malevich og Vladimir Majakovski. Kunstmaler og poet. Vi har sett nærmere på konseptet moderne kunst. Vår medarbeider Fredrik Longva mener at han har klart å knekke noen koder for å kunne bedre forstå konseptet moderne kunst, som kan være forvirrende for de fleste. Han presenterer "Malevitsj-koden". -Ikke bare de russiske futuristene som kler seg annerledes. Vi tar for oss det visuelle utrykk, hvordan kreativiteten henger sammen med det utrykssfylle, det visuelle. -Høykultur, lavkultur, hva er egentlig grunnen for at noe kan falle innenfor disse kategoriene. Er dette skillet tilstede i vår kulturelle hverdag og hvorfor må vi mennesker skape dette skillet mellom noe som er lavt og høyt, bra og dårlig? ( i studio: Magnus Romslo Lindvik / Sunniva Rebbestad) (Bidragsytere: Fredrik Longva, Sunniva Rebbestad, Magnus Lindvik, Sarah Jonassen)