This homage to Kasimir Malevich is a confirmation of Tom R. Chambers' Pixelscapes as Minimal Art and in keeping with Malevich's Suprematism ... the feeling of nonobjectivity ... the creation of a sense of bliss and wonder via abstraction. Chambers' action of looking within the Malevich photo to find the basic component(s) ... pixel(s) is the same action as Malevich looking within himself ... inside the objective world ... for a pure feeling in creative art to find his "Black Square", "Black Cross" and other Suprematist works.

Exhibitions:

MDM-1 [My Dear Malevich] (Group Show), Homage: Contemporary Art in Digital Media, Art Institute of California, San Diego, California, U.S.A., September 11 - October 15, 2010.

My Dear Malevich and Pixelscapes: First and Second Generations, The H Gallery, Houston, Texas, U.S.A., July 10 - August 9, 2010.

MDM-1 [My Dear Malevich] (Group Show), Homage: Contemporary Art in Digital Media, Escondido Arts Partnership Municipal Gallery, Escondido, California, U.S.A., July 9 - August 21, 2010.

Catalog:

Novosibirsk State Art Museum [as a part of the aniGma-4, Fourth Novosibirsk International Festival of Digital Imaging], Novosibirsk, Russia [May 10 - June 10, 2007]

Brochure and Poster:

Art Gallery, Fine Arts Department, Zhaoqing University, Zhaoqing, China [April 2 - 15, 2007]

Poster:

Museum of Computer Art [MOCA] [April - 2007]

Other:

Rhizome.org announcement re: My Dear Malevich at the Novosibirsk State Art Museum, Novosibirsk, Russia

NewmediaFIX.net announcement re: My Dear Malevich at the Novosibirsk State Art Museum, Novosibirsk, Russia

Online version

Buy the "My Dear Malevich" book online:

New work [posters] utilizing paintings by Kasimir Malevich to explore pixel configurations for "Pixelscapes":

The premise behind the above "Pixelscapes" lies within the fact that in the late 1920s Malevich abandoned abstraction and returned to a figurative style in order to meet the demands of the Communist Party. In 1923, he was appointed Director of the Petrograd [St. Petersburg] Museum of Artistic Culture, which was devoted to contemporary art [Avant Garde]. The institute was forced to close in 1926 by the Communist Party. It was said of Lenin that he did not appreciate Avant Garde art. Malevich was allowed to keep a small apartment, and in the last years of his life, he was out of favor with the Government. Socialist Realism was established as the official and the only way of artistic expression. In 1930, Malevich was arrested for a short period because of his contacts in Germany. In 1933, he was accused of Formalism. Malevich returned to figurative art, and in 1935, he died of cancer in Leningrad [St. Petersburg].

And this premise becomes one of homage a second time ... first, "My Dear Malevich" ... by utilizing paintings by Kasimir Malevich to explore at the pixel level ... via digitization ... aesthetic fields of "Pixelscapes" to rekindle his thoughts about creation, "No phenomenon is mortal, and this means not only the body but the idea as well, a symbol that one is eternally reincarnated in another form which actually exists in the conscious and unconscious person."

The selection process uses the criteria: before and after his Suprematist Period ... his early works, 1903 - 1915 and later works, 1928 -1933. His Suprematist works are not a part of the process because they speak for themselves, or in other words, they indicate this art movement focused on fundamental geometric forms and "the non-objective world".

In his book The Non-Objective World, Malevich described the inspiration which brought about the powerful image of the 'Black Square': "I felt only night within me and it was then that I conceived the new art, which I called Suprematism."

The "within" as a part of his statement is an important aspect of this approach taken for these "Pixelscapes". In Chambers' opinion and at the subconscious level, Malevich's Suprematist passion and emotions were a part of him ... and coming to the forefront ... during his early work, and suppressed during his later work. So in a political sense, the pixel explorations indicate this passion and these emotions by looking "within" his digitized paintings to pay homage, a second time.