|MY DEAR MALEVICH [Scroll horizontally to view/read; click on links to go to Facebook versions; scroll vertically to read additional information.]|
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. Chambers' action of looking within a portrait (photo) of Kazimir Malevich 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.|
Abstract: "Black Square"/"MDM-18/My Dear Malevich", Fourth International Conference on Arts and Humanities 2017, Colombo, Sri Lanka, September 21-22, 2017. ICOAH 2017 hosted by Universiti Sains Malaysia, Malaysia and organized by The International Institute of Knowledge Management (TIIKM) in collaboration with Concordia University, Montreal, Canada.
MDM 6 3D: The six pieces ("My Dear Malevich")(2D) shown in the "Suprematism Infinity: Reflections, Interpretations, Explorations" exhibition (Columbia University, New York City, New York [December 10, 2015]; accepted for the Russian American Cultural Center (RACC) Art Collection, New York City) are transformed 3-dimensionally as "ARCHITECTONS" in keeping with Kazimir Malevich's 3D work. Chambers has taken the "black" out of the pieces except for shading and shadows, and what he likes about this Suprematist journey is its origin within a digitized portrait of Malevich magnified to reveal the pixel configurations as 2D representations, and then extruded as 3D representations (sculptures).
1) My Dear Malevich, Suprematism Infinity: Reflections, Interpretations, Explorations (Group Show), Atrium Gallery, Harriman Institute, Columbia University, New York City, New York, U.S.A., December 1, 2015 - January 22, 2016 (pdf). Click on SIRIE to view photographs (by Cho Eun-mi) of the opening. Note: this work was donated to the Russian American Cultural Center (RACC) Art Collection, New York City (letter).
Note: this exhibition is in conjunction with the "100 Years of Suprematism" conference, Shapiro Center, Columbia University, New York City, December 11 - 12, 2015. It is organized in celebration of the centenary of Kazimir Malevich’s invention of Suprematism and the first public display of his Suprematist paintings in December, 1915. The two-day conference is organized in association with the Harriman Institute, the Lazar Khidekel Society, and SHERA. It features presentations by an international and renowned group of scholars. Among them are leading researchers in the field from the United States, Russia, and the United Kingdom. The event includes a presentation of "Kazimir Malevich: Letters and Documents, Memoirs and Criticism" (London: Tate, 2015) (pdf) (http://tomrchambers.com/Malevich Society.htm).
Brochure and Poster:
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
In 1923, Malevich was appointed director of Petrograd State Institute of Artistic Culture, which was forced to close in 1926 after a Communist party newspaper called it "a government-supported monastery" rife with "counterrevolutionary sermonizing and artistic debauchery." The Soviet state was promoting an idealized, propagandistic style of art called Socialist Realism. 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].
The premise becomes one of homage a second time - first, "My Dear Malevich" (http://tomrchambers.com/malevich_dir.html) - by utilizing paintings by Kazimir 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.