Kazimir Malevich. Square one for Modern Art
Square one true appreciation on my part.
Prior to my visit to Tate Britain last Thursday, I knew very little of Malevich, possibly only his name; nor the significance of the words ‘black square’. Some simple research into his background led me to discover some basic information, such as that he was a Russian born painter and art theoretician; a pioneer of abstract art.
Perhaps at this stage in my design education I should have already had some basic knowledge of Malevich, however in some respects I am glad that I was able to receive his works in the context of a full retrospect, as I feel their impact has multiplied thrice fold.
As Malevich’s only retrospect in thirty years and the first ever brought to the UK, I was certain that I should fully appreciate what I was going to witness and also had begun to build up an idea of his standing in the art world. I entered the exhibition space with an open mind and an eagerness to absorb as much as I can.
The structure of the exhibition in chronological order allowed me to fully immerse in the stages of Malevich’s life and career, in context of what was going on in the world at that time. As I walked I watched his style change from traditional paintings with simplified forms through to his works with Cubo-Futurism. This is when Malevich began to flout the boundaries between abstraction and representation. He also favoured bolder colours as opposed to the muted schemes opted for by the Cubists.
This planned arrangement of his works aided me to fully understand the complexity and variability of his ever changing style. Allowed me to think past the finished products presented on the walls and investigate what it was that inspired Malevich to do this. The retrospect presented many of his earlier works in these styles as well as poetry and theatre, yet what fascinated me the most was what came after this.
Next revealed was the infamous Black Square. Said to hold ‘uncompromising power’ over the viewer (exhibition information booklet), it was both inspiring and unsettling to watch; staring into the dark abyss. I can only marvel at the complexity within such a ‘simple’ shape.
Following this piece was Malevich’s work with Suprematism. This imagery I began to recognise. The strong shapes scattered in peculiar angles against blindingly white backgrounds reminded me of other designers’ work, such as Alan Fletcher’s use of colour and Piet Mondrian’s grid like compositions.
A piece of work that struck a chord with me following the Black Square was ‘Mystic Suprematism. Red Cross on Black Circle. 1920–1922’. The reason I noticed this piece above the rest was because of the obvious use of religious imagery, the cross. Viewing this painting I wonder if the cross has been used to symbolise religion/ the death of Jesus, or whether it was used in irony, to mean nothing of this whatsoever. This thought stems from the placement of one of the Black Squares in the upper corner of the room. A space reserved for religious icons in Russian households.
Another point of this image that perplexes me can be linked to a quote of Malevich that I read during the exhibition:
“The artist can be a creator only when the forms in his picture have nothing in common with nature”
Perhaps the cross to him doesn't act as nature, but I see the use of this symbol as a contradiction of this very quote. As it is an easily recognisable icon, not something Malevich created entirely.
In conclusion I can justly say that this retrospect has changed the way I look at modern art. Although I am still unsure of how to pronounce his name…
Mall-e-vich
Mal-ee-a-vic
Mah-lee-vich?
On the argument of ‘My five year old could have done this’,
