#postminimalism

[disease]

LYNDA BENGLIS / "STORM PATTERN" / 2003 [bronze | 29 × 27 × 25"]

[syndeticart]

This piece continues to be in process.

44in x 44in x 9.5 in.

“Flatness, two dimensionality, was the only condition painting shared with no other art “ Clement G.

[caviarsonoro]

Kate Moore: Zomer ( Saskia Lankhoorn).

Zomer, pieza inaugural del álbum Dances and Canons (2014), sintetiza con claridad los principios de la compositora Kate Moore.

Aunque su obra guarda cierta afinidad superficial con el minimalismo, Moore rehúye de las estructuras rígidas y apuesta por un desarrollo orgánico a partir de patrones que se transforman lentamente mediante sutiles variaciones rítmicas, tímbricas o dinámicas.

La resonancia del instrumento (especialmente del piano), se convierte en un material estructural esencial, y el uso expresivo del pedal permite prolongar el sonido más allá, generando una atmósfera envolvente y suspendida. Las piezas se articulan como un canon expandido, donde las capas se superponen sin jerarquías, creando una textura fluida que evoluciona con lentitud y profundidad, haciendo que el tiempo parezca dilatarse.

La interpretación de la pianista Saskia Lankhoorn es clave para el resultado de esta obra: su ejecución se caracteriza por una notable precisión técnica, una dosificación rigurosa del pedal y un control expresivo que evita el exceso sin caer en la frialdad. Lankhoorn consigue lograr un delicado  equilibrio entre transparencia y densidad, respetando la arquitectura de la pieza sin neutralizar su carga afectiva.

[aaagencyyy]

Alexandra Phillips

[jareckiworld]

Richard Serra — East-West/West-East  (monumental steel plates, Qatari desert, 2014)    

[woundgallery]

Richard Tuttle, She Recreated Herself as Spacious, 1987, Wood, wire, paper and acrylic, 23 x 15.7 x 4 inches (58.4 x 39.9 x 10.2 cm)

[seshgirlie]

Eva Hesse with her sculpture “Untitled or Not Yet,” 1969

[fineartandblueamber]

Principles of Kazimir Malevich’s Suprematism Philosophy

Suprematist art, specially drawn in out-of-proportion size with the art concept, was a small standing mirror in which the materialistic men of a materialistic century could look at themselves…Suprematism presented to the Russian people the greatest aspects of non-objectivity in art and by so doing, open the way to a deeper understanding of art. Malevich was an intelligent in his stratagems for appealing to the plain sense of his utilitarian countrymen while not compromising his art doctrine.

Step by step throughout its development, he would present the squares and circles as inventions to aid the peasant in life and in the end, it would seem seekers for eternal life. It is most likely that in the first instances of the non-objective creations, Malevich was trying to slip something into the art of the Communist overseer…but when he always failed to gain the serious notice of the public servant, he finally revealed the real aim of his Being.

Through this struggle for acceptance of his art doctrine, Malevich showed a large amount of mordant wit in his politicking with the Communist art organizers. In this weak state of the intellectual elite in Russia, it proves the theory that the artist, no matter how true and dedicated he may be, is always a servant to the age in which he lives…but in Malevich’s example, he is also a leader of the future.

When a single individual comes to represent the symbol of an entire age, it is because he bears within himself the secrets and the future of that age. Malevich’s Suprematism is the most absolute development of modernist sensibility; and the servant of it. It is for this reason that Suprematism, from its beginning in 1913 to the late 1920s, was primarily a cultural force, at least in the mind of its originator.

As a result, in the tumult of early 20th-century Russia, Malevich emerged as a beacon of Suprematist art, challenging the conventions of representation with his fervent embrace of non-objectivity. His art doctrine, meticulously crafted, sought to liberate Russian art from the shackles of materialism, offering instead a portal to abstract realms. Malevich, a visionary of Russian art, navigated the turbulent waters of Modernism with unparalleled audacity, spearheading the avant-garde movement with his bold strokes and geometric forms.

As the cultural force of Suprematism swept through the intellectual elite, Malevich stood as its unwavering advocate, confronting the entrenched ideologies of his utilitarian countrymen. Through his artistic innovation, he transcended the confines of symbolism, weaving a tapestry of abstract expression that resonated with the future of art itself.

Of this, “Suprematism of the Spirit” is an iconic example. (see note below) Matter of fact, “Suprematism of the Spirit” represents the culmination of Malevich’s artistic journey within the Suprematist movement, where he sought to push the boundaries of abstraction and express the ineffable through geometric forms and color.

In the years following the creation of his seminal work “Black Square” in 1915, Malevich continued to refine his ideas and experiment with geometric abstraction. His Suprematist compositions became more complex, incorporating a variety of shapes, lines, and colors arranged in dynamic compositions.

By the time he painted “Suprematism of the Spirit,” likely in 1919 or 1920, Malevich had fully embraced Suprematism as a means of expressing the spiritual essence of art. The title itself suggests a departure from the purely material or formal concerns of earlier Suprematist works towards a deeper exploration of metaphysical themes.

“Suprematism of the Spirit” may feature a composition dominated by geometric shapes and bold colors, typical of Malevich’s Suprematist style. However, it also likely conveys a sense of transcendence and inner harmony, reflecting Malevich’s belief in the ability of art to evoke spiritual truths beyond the material world.

Note: Seems that there were several versions made of “Suprematism of the Spirit”. The museum in Amsterdam has on on wood and the museum in Tel Aviv has one based on that. The version above (File:Suprematism-spirit-1919-1920.jpg – Wikipedia. ) is shown in Unovis No 1 Vitebsk 1920 as annex to the facsimile edition and in Jahrbuch der jungen Kunst, Klinkhardt Biermann in the article of Kallai, Ernst (Konstruktivismus p.375) Leipzig,1924 as well as El Lissitzky/Hans Arp (Die Kunstismen /Les Ismes de L’Art /The Isms of Art) in 1924-1914 Erlenbach Zürich München Leipzig 1925 Pp 23 (illustration 45) and many more.