Black Square 62.1.5

            Black Square was originally painted in 1915 by Kazimir Malevich, a Russian painter. He pioneered geometric abstract art and avant-guard suprematism. He follows in the line of growing abstraction within art. As is evident in Picasso’s works the subjects become more and more abstract, which developed into cubism. The subjects, people, things, vistas, were broken down into rudimentary shapes. This breaking from form can be understood as an attempt to get behind what is perceived to what is known, or conversely showing that nothing can be know only perceived. In moving to abstraction, and non-direct representation the era sought to define itself. As the cultural milieu sought to define itself, so to did painted art. Malevich incorporated cubism into his works, as did many others. Malevich, however, took cubism to its logical end. 

            In looking for what represented pure artistic feeling, Malevich broke everything down to geometric shape and solid colour. The cornerstone of his exhibit was “Black Square”. It defined what is known or felt as black, and the rudimentary form of square was totality. Created in 1915, as WWI raged in Europe, “Black Square” can be understood as art’s response.

 

            Not only did Malevich create “Black Square”, a statement in itself, the way in which he hung it was of utmost importance. He hung the square from what is called the red/beautiful corner, which in Russian Orthodoxy is the place of the Icon in the house. In so doing, Malevich not only made a formidable painting. He proposed an even more totalizing idea: that true knowledge or reality can be summed up in “Black Square”. In so doing, he painted his manifesto “From Cubism to Suprematism” into reality.

            Though it is no longer 1915, it is my perception that many of the same emotions and outlooks pervade our society. Looming ecological disaster, militarization, national brinkmanship, continuous knowledge that at any moment nuclear accidents can ruin the entire globe, all result in a “Black Square” looming over our everyday lives.

            “Black Square” captures me as a person. When I look at it, and when I ponder it, it resonates with me deeply. (This should not be too much of a surprise to those who read this blog often; I am sometimes critiqued for being too pessimistic and negative). In “Black Square”, I see my own complete nihilism. It makes sense. Reality often seems more like a chaos then a cosmos. “Meaningless, Meaningless” is a refrain that comes blowing on the wind; it is a refrain that inspired the origins of this blog. Wallowing and uncertainty find themselves in the Icon of “Black Square”. It is something that once I discovered has not left me and often floats to the forefront of my mind. It has almost become a fetish of faith for me, something to which I cling. No matter how depressing it seems it grounds me in reality.

            I have been very fortunate to see many of Malevich’s paintings on display in New York on my various visits. “White on White” is a compelling piece but does not hold the same power for me as “Black Square”. Yet, as I looked at art this past summer, I became inspired to physically create my version of “Black Square” that has been percolating in my mind for the past eight months or so.

            “Black Square 62.1.5” is my rendition of Malevich’s “Black Square”. I have added a little, imperfect, blip of white, which I pulled into a seven-pointed “star”. It now hangs above my desk in the red/beautiful corner of my apartment. The “star” is small, centered, and is either breaking through the darkness or receding into it. It is my icon, my window into the divine, my grounding on earth when sometimes it seems all is “Black Square”, at those moments I remind myself I chose to profane “Black Square” with white.

            The day I finished it, my roommates had some people over, and they wanted to hear what I meant by it (which I have just told you). First, I asked for their impressions. Foreboding, empty, and alone, were words they chose to describe it. Then a curious remark, that I like very much, was stated, “The longer I look at it the smaller the white dot seems to get”. I think this is true, the longer the stare, the farther away the perceiver becomes. Almost as if we retreat into ourselves at those moments of contemplation.

            As for the title, “Black Square 62.1.5”. I hope the “Black Square” part is evident enough. 62.1.5 is a reference. I have chosen to name all my paintings with a numbered code. Book62.Chapter1.Verse5 “This is the message we have heard from him and declare to you: God is light; in him there is no darkness at all”.