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			Kasimir Malevich's (1878-1935) sudden and startling realization of
a nonrepresentational way of painting, which he called Suprematism,
stands as a seminal moment in twentieth-century art. Rainer Crone
and David Moos trace the artist's development from his beginnings
in the Ukraine to his involvement with Futurist circles in Moscow
through to the late 1920s and beyond. They convincingly demonstrate
that Malevich's late representational painting, still widely
misunderstood, solidifies his extraordinarily inventive stance.
Against the historical background of distinctly Russian progressive
cultural and scientific movements, the authors define affinities
between Malevich's work and other nonpolitical revolutions:
relativity and quantum theory in physics; the work of Roman
Jakobson and the Prague School in linguistics; and the exploration
of language in the writings of the poet Velimir Khlebnikov. They
situate the artist within the fundamental epistemological shift
from nineteenth-century objectivity to an all-pervasive modernist
subjectivity, relying upon Malevich's contribution to illustrate
the ways cultural production is mediated through various modes of
transmission. Rainer Crone holds the Chair for Twentieth Century
Art at Ludwig-Maximilians-Universita t, Munich, and is adjunct
professor of art history at Columbia University. David Moos is a
doctoral candidate in art history at Columbia University."
				
		  
	 
	
 
                            
                            
                        
                    
                    
                    
                    
                 
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