Word: suprematist
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...most radical paintings were the suprematist compositions he made between 1913 and the mid-1920s. To imagine that these were just formal exercises is to underrate them. Malevich thought of his black square and its cousins -- the white-on-white geometries, the crisp arrangements of colored planes floating in space as deep as the sky -- as icons, points of entry into a superior spiritual world. Their vividness, their power to fix one's attention, is also the vividness of the staring eyes of a pantocrator...
...memorials to the war dead that one sees in every English town-and removes religious or commemorative use, leaving an abstract residue. The crosses are worked up with cuts, angles and elegant inflections of thickness. The cenotaphs stick out horizontally from the wall, very much like the "architectons," the suprematist sculptural fantasies designed by the Russian Kasimir Malevich 60 years ago. Indeed, the spirit of Russian constructivism-spare, idealizing, but wedded to primary forms and to the nature of industrial material-presides over Milow's work, lending it a subtle dignity. Tim Head's photo projections are studies...
...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 Suprematist Relief (1920-26), finished a few years before he died at 27, lays no stress on its materials; it is a pure proposition of the kind of half religious ideal that was soon to be censored out of Russian art by Stalin. On the other hand, the work of Iwan...
...modern art exhibitions the world has seen this year is running (until Oct 16) in Berlin. "Trends of the Twenties," set up by the Council of Europe, contains four exhibitions: some 3,000 paintings, drawings, sculptures, photos, models' posters, documents and every imaginable sort of artifact, from a suprematist teacup by the pioneer Russian abstractionist Kasimir Malevich to a Bauhaus gramophone. The exhibition catalogue is as thick as a brick; one needs persistence, but is richly rewarded. For "Trends of the Twenties" offers a vast and unique panorama of the European avant-garde in its most exacerbated sense...
...integral part of life" (Walter Gropius). And growing from these ideas of incorporation of art in life, came "an architecture whose function is clearly recognizable in the relation of its form" (Gropius). Constructivist experiments in typography and layout led to Bauhaus block lettering. Non-objective paintings-Malevitch's Suprematist black squares on white backgrounds, and white on white, or black on black-led to Bauhaus organization and simplication with triangle, square and circle as primary constituents...