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Malevich and film

Author: Margarita Tupitsyn; Centro Cultural de Belém.; Fundación "La Caixa" (Madrid, Spain)
Publisher: New Haven : Yale University Press in association with the Fundação Centro Cultural de Belém, ©2002.
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
"Russian Painter Kazimir Malevich (1878-1935), unlike other prominent Soviet artists, has not been much considered in discussions of the contributions of the avant-garde to photography and film. Yet a close examination of theoretical and practical aspects of Malevich's oeuvre not only places him fully in the Soviet post-abstract discourse on these media but also, as Margarita Tupitsyn argues in this book, alters the  Read more...
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Genre/Form: Exhibition catalogues
Motion pictures
Named Person: Kazimir Severinovich Malevich; Kazimir Severinovich Malevich
Document Type: Book
All Authors / Contributors: Margarita Tupitsyn; Centro Cultural de Belém.; Fundación "La Caixa" (Madrid, Spain)
ISBN: 0300094590 9780300094596
OCLC Number: 50102256
Notes: "Published in association with Fundação Centro Cultural de Belém on the occasion of the exhibition Malevich e o cinema, Lisbon, 17 May-18 August 2002 and Malevich y el cine at Fundación La Caixa, Madrid, 20 November 2002-19 January 2003"--Title page verso.
Description: xii, 173 pages : illustrations (some color) ; 29 cm
Contents: "Not everyone will be taken into the future" --
Who is afraid of Black Square? --
Silence for four minutes during which the screen remains dark --
From abstract to cinematic cabinet --
From Bauhaus to art house: the Suprematist film --
And faces are painted on the screens --
During the great divide --
Incitement and thought: the texts of Malevich / by Victor Tupitsyn --
Painterly laws in the problems of cinema / by Kazimir Malevich.
Responsibility: Margarita Tupitsyn with essays by Kazimir Malevich and Victor Tupitsyn.

Abstract:

"Russian Painter Kazimir Malevich (1878-1935), unlike other prominent Soviet artists, has not been much considered in discussions of the contributions of the avant-garde to photography and film. Yet a close examination of theoretical and practical aspects of Malevich's oeuvre not only places him fully in the Soviet post-abstract discourse on these media but also, as Margarita Tupitsyn argues in this book, alters the accepted view of his post-Suprematist period. Exploring Malevich's involvement with film for the first time, Tupitsyn draws on little-known writings about cinema by the artist himself, newly accessible works, and many previously unpublished photographs and documents. Malevich's influence on twentieth-century art extends far more widely than has been claimed for him before, the author concludes." "The book begins with a re-evaluation of Malevich's most famous painting, Black Square, a work whose meaning and function was in constant flux. Through Black Square Malevich began to cross the bridge from the painting medium to mechanically generated production, ultimately influencing the post-revolutionary phase of his Suprematism and leading to his abandonment of abstraction in the late 1920s. Tupitsyn discusses in detail Malevich's writing about the cinema, the cinematic qualities of some of his works, the work of other contemporary artists with bonds to cinematography, and the significant impact of Malevich's thought and work on Russian, European, and American artists of the 1920s and 1930s as well as the post-war period." "This book is the catalogue for an exhibition that opens in Lisbon at the Fundacao Centro Cultural de Belem in May 2002, then travels to Spain."--Jacket.

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   schema:reviewBody ""Russian Painter Kazimir Malevich (1878-1935), unlike other prominent Soviet artists, has not been much considered in discussions of the contributions of the avant-garde to photography and film. Yet a close examination of theoretical and practical aspects of Malevich's oeuvre not only places him fully in the Soviet post-abstract discourse on these media but also, as Margarita Tupitsyn argues in this book, alters the accepted view of his post-Suprematist period. Exploring Malevich's involvement with film for the first time, Tupitsyn draws on little-known writings about cinema by the artist himself, newly accessible works, and many previously unpublished photographs and documents. Malevich's influence on twentieth-century art extends far more widely than has been claimed for him before, the author concludes." "The book begins with a re-evaluation of Malevich's most famous painting, Black Square, a work whose meaning and function was in constant flux. Through Black Square Malevich began to cross the bridge from the painting medium to mechanically generated production, ultimately influencing the post-revolutionary phase of his Suprematism and leading to his abandonment of abstraction in the late 1920s. Tupitsyn discusses in detail Malevich's writing about the cinema, the cinematic qualities of some of his works, the work of other contemporary artists with bonds to cinematography, and the significant impact of Malevich's thought and work on Russian, European, and American artists of the 1920s and 1930s as well as the post-war period." "This book is the catalogue for an exhibition that opens in Lisbon at the Fundacao Centro Cultural de Belem in May 2002, then travels to Spain."--Jacket." ;
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