Artist Frank Stella discusses Kazimir Malevich’s Suprematist Composition: White on White of 1918.
Stella refers to Alfred Barr’s chart for his 1936 “Cubism and Abstract Art” exhibition at MoMA.
Glenn D. Lowry, Director of The Museum of Modern Art, discusses Filippo Tommaso Marinetti’s Vive la France currently on view in Inventing Abstraction.
Contemporary artist Josiah McElheny speaks about three works in Inventing Abstraction.
Vladimir Tatlin, Model for Monument to the Third International, 1920
Kazimir Malevich, Gota Architecton, 1923
Katarzyna Kobro, Spatial Composition I, 1925
Josiah’s Project at The Museum of Modern Art in 2007
Artist Amy Sillman discusses Aleksei Kruchenykh’s illustrated book Vselenskaia voina. Ъ (Universal war. Ъ), published in 1916, currently on view in Inventing Abstraction.
See our earlier post about this work
Artist Sarah Sze discusses Vladimir Tatlin’s model for Pamiatnik III Internatsionala (Monument to the Third International), currently on view
in Inventing Abstraction.
Artist R. H. Quaytman discusses the sculptural work Kompozycja przestrzenna 1 (Spatial Composition 1) by Katarzyna Kobro, on view in Inventing Abstraction.
“The solid is just a pretty tale from the past” - Katarzyna Kobro
During the exhibition we’re inviting artists, curators, and guests to select a work to record an audio response about. Artist Senga Nengudi spoke about Vasily Kandinsky’s work, specifically his Impression III [Concert].
Lean more about Kandinsky in Inventing Abstraction
Throughout the run of the show we’ll be asking artists, curators, and other special guests to pick an artwork and briefly speak about what they find compelling about it. Recently Gabriel Orozco shared his thoughts about Augusto Giacometti’s Chromatische Phantasie (Chromatic fantasy) from 1914, a vibrant canvas with thick layers of bright paint applied with a palette knife.
During the exhibition we are inviting artists, curators, and other guests to walk into the galleries and pick a specific work on display to discuss. In this post, Wolfgang Laib talks about his lifelong connection to Kazimir Malevich, and in particular Suprematist Composition: White on White.
