exhibitions

More Last Paintings, Gallerysmith Project Space Melbourne, 20 - 30 August 2014

installation views




work

Blank Square 1913, 2013

Acrylic on reverse of black primed linen, 79.5 x 79.5

Blank Square 1923, 2013

Acrylic on reverse of black primed linen, 106 x 106

Blank Square 1929, 2013

Acrylic on reverse of black primed linen, 79.5 x 79.5

Blank Square 1932, 2013

Acrylic on reverse of black primed linen, 53.5 x 53.5
Private Collection

Veronese, 2014

MASTERPIECES, Polyurethane and acrylic* on reverse of black gesso primed canvas *Dulux ‘Tranquil Retreat’, Each painting 61.0 x 81.3cm

Titian, 2014

MASTERPIECES, Polyurethane and acrylic* on reverse of black gesso primed canvas *Dulux ‘Tranquil Retreat’, Each painting 61.0 x 81.3cm

Tintoretto, 2014

MASTERPIECES, Polyurethane and acrylic* on reverse of black gesso primed canvas *Dulux ‘Tranquil Retreat’, Each painting 61.0 x 81.3cm

Tiepolo, 2014

MASTERPIECES, Polyurethane and acrylic* on reverse of black gesso primed canvas *Dulux ‘Tranquil Retreat’, Each painting 61.0 x 81.3cm

Raphael, 2014

MASTERPIECES, Polyurethane and acrylic* on reverse of black gesso primed canvas *Dulux ‘Tranquil Retreat’, Each painting 61.0 x 81.3cm

Correggio, 2014

MASTERPIECES, Polyurethane and acrylic* on reverse of black gesso primed canvas *Dulux ‘Tranquil Retreat’, Each painting 61.0 x 81.3 cm

Caravaggio, 2014

MASTERPIECES, Polyurethane and acrylic* on reverse of black gesso primed canvas *Dulux ‘Tranquil Retreat’, Each painting 61.0 x 81.3cm

Correggio, 2014

MASTERPIECES, Polyurethane and acrylic* on reverse of black gesso primed canvas *Dulux ‘Tranquil Retreat’, Each painting 61.0 x 81.3cm

Michelangelo, 2014

MASTERPIECES, Polyurethane and acrylic* on reverse of black gesso primed canvas *Dulux ‘Tranquil Retreat’, Each painting 61.0 x 81.3cm




catalogue essay

Russian painter Kasimir Malevich (1878-1935) exhibited Black Square in The last Futurist exhibition of paintings: 0.10 in Petrograd in 1915.   Black Square is a polychrome composition of a black square within a white square.  Malevich declared that Black Square constituted the ‘zero of form’, an end to old conventions and the origin of a new pictorial language that he termed ‘Suprematism’.  Black Square and his later painting White on White (1918) are now the icons of Suprematism.  Subsequently ‘black’, ‘white’ and ‘square’ paintings have often been associated with reductive approaches to painting and its ultimate absolutist position.

Blank Square resonates with both direct and oblique homages to Malevich.  The paintings have the same dimensions and composition as Malevich’s versions of Black Square [Malevich is known to have painted four versions: 1915, 1923, 1929 and 1932 (dated 1913 on the reverse)]. 

However in [Blank Square] most of the central black square in Malevich’s composition has been omitted.  This omission reveals the canvas support and leaves the white ground (surrounding the black square) that for Malevich mapped the boundless space of the ideal and nothingness.  Also the application of the layers of white paint in [Blank Square] has also serendipitously created white (on white) squares in the corner of each painting.  [Blank Square] also references a number of other Modern and Contemporary artists who might be considered Malevich’s formal and spiritual heirs, notably those associated with Minimalism and Conceptual Art.