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Italian translation of Zhivopisnye zakony v problemakh kino by Kazimir Malevich.

In the treatise "Suprematism. The World as Objectlessness or Eternal Peace" (1922), Kazimir Malevich positions himself as a "bookless philosopher" who did not consider theories of other philosophers. In fact, the treatise contains a large number of references to philosophers belonging to different traditions. A careful reading shows the extent to which Malevich's theory is linked to the Russian religious philosophy of the early twentieth century. In my view, Nikolai Berdyaev, Sergei Bulgakov, Pavel Florensky—philosophers of "Religious Renaissance," as well as some other intellectuals—acquaint avant-gardists with Neoplatonic conceptions of apophasis. Malevich had access to ideas of fourteenth-century theologian Meister Eckhart, and I will refer to two sources to demonstrate this, including Margarita Sabashnikova's translation of Eckhart and works of Sergei Bulgakov. Without any reference, Malevich retells the concepts of Dionysius the Areopagite, Meister Eckhart, and Gregory Palamas. I will demonstrate parallels between the treatise on Suprematism and Meister Eckhart's Sermons concerning the concepts of apophaticism, Platonism, and Nothingness. I will also touch on the theme of Divine Light in the theology of Palamas (fourteenth century) to show the diversity of the avant-garde's sources of inspiration. [ABSTRACT FROM AUTHOR]

This article traces how Oscar Niemeyer and his team’s early draft of the Ibirapuera Park project (1951–1954) employs resources from the art and architecture of the Russian avant-garde of the early 20th century. It presents similarities with two projects by architect Ivan Leonidov regarding formal citations and the dispersion of volumes in space. It states a strong link between the Brazilian architect’s work and the suprematist conception of space, which employs empty space as a “desert condition” that aesthetically elaborates on the isolation characteristic of the modern condition. Such use of space articulates Niemeyer’s tragic perception of the modernization process in Brazil. However, the marquee in Ibirapuera Park suggests an integration of the otherwise dispersed volumes. It allows for the social appropriation of space and the coexistence of diverse groups, thus producing a space where integration between bodies remains possible.

Starting from the bold claim made by Ksana Blank that Leo Tolstoy was the "first supremacist in Russia", this paper first considers the arguments presented to support this position, as well as those that dispute it. Then, in Tolstoy's and Malevich's religious searches, a possible foundation is found that could support such a claim and justify the comparison. It is pointed out that Tolstoy's religious reflections are not a step backwards, towards some unprofound, naive protestantism or narrow rationalism, but on the contrary, a step forward and a hint of what will, soon after his death, find its expression, among other things, in Malevich's Suprematism. [ABSTRACT FROM AUTHOR]

Object. The evolution of the art of modernism and avant-garde is analyzed and the bases of their stylistic specification is described. It is elucidated the conceptual essence of the relations between modern and avant-garde as two concepts of the first stage of the evolution of modern art. They show the internal contradiction of the process of artistic creativity. Scientific novelty. Philosophical and aesthetic concepts of modernism and avant-garde are considered. It is noticed that each concept is characterized by a variety of styles that reflect specific ideas and trends of their time. The divergence between these concepts is manifested in the difference in the methods of expression, as well as in the attitude to the socio-cultural traditions and the history of art. The development of the stylistics of modernism from cubism to expressionism and from futurism to surrealism is determined. This process takes place when the means of expression typical for modernism are outlined more embossed and candidly. «Analytical and synthetic» painting from cubism to expressionism manifests itself through the dynamics of compositions, the intensity of lines, the contrast of colours, which embody the mysticism and energy of simplified forms. On the way from futurism to surrealism, the search for ways to represent the reality carries out a kind of “murder” of painting, using an unexpected combination of images, transformation effects, automatism in painting. The analysis of dadaism, suprematism and constructivism revealed that the formation of the stylistics of avant-garde takes place on the way from the philosophy of anti-art through the assertion of the aesthetic idealization of abstract forms to the philosophy of the constructivity of art in socio-cultural space and time. Results. It is determined that the conceptual relationship between the modern and the avantgarde describes the internal contradiction of the process of artistic creativity, the possibility of the realization its socio-cultural and technical and technological aspects. It is elucidated that the evolution of stylistics from sensuous and irrational to abstract and logical, from the absolutization of form to the conceptuality of content reveals the logic of the contradiction between modernism and avant-garde as a reflection of the diversity of philosophical ideas and socio-cultural standards of the epoch. It is shown that the styles of modernism from cubism and expressionism to futurism and surrealism were manifested as the attempts to express the sensuous and emotional aspects of the world through bright colours, dynamic forms and irrational images. Avant-garde in the styles of dadaism, suprematism and constructivism focused mainly on abstraction, decomposition of form and conceptual elements of art. Conclusions. Philosophical reflections on the stylistic specification of artistic trends can help to reveal the logic of the emergence and development of artistic styles during the evolution of forms and techniques of modern art, in particular postmodernism and contemporary art. [ABSTRACT FROM AUTHOR]

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Copyright of Experiment: A Journal of Russian Culture is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article looks at the relationship between the scholar and collector Nikolai Khardzhiev and the artist Kazimir Malevich, tracing the origins and the development of the friendship between the two men. The text also examines the various ways in which Khardzhiev protected and preserved the artist's legacy, not only by collecting and interpreting his paintings, drawings, and manuscripts, but also by pointing out the mistakes and misunderstandings that surrounded Malevich and his work, especially in the literature about the artist produced in the West. [ABSTRACT FROM AUTHOR]

The analysis undertaken in this paper sets out with El Lissitzky’s 1919 revolutionary poster entitled Beat the Whites with the Red Wedge. This artwork, composed of simple geometric figures, in which an acute-angled red triangle splits the form of a white circle, was used by Soviet propaganda to affirm the so-called ‘October events’. However, a thorough analysis of the poster, i.e. its sources, inspirations, borrowings and contexts, supports the hypothesis that the principal motif (the wedge) also constitutes a graphic equivalent of a letter of the Hebrew alphabet, the letter yud, represented as a small comma or, significantly, an acute-angled triangle. Such a premise yields further consequences with regard to meanings, encompassing aspects related to the Jewish iconic tradition that involve mysticism, magic, and the kabbalah. [ABSTRACT FROM AUTHOR]

This article proposes to revise the established research approach to Suprematism as a utopian futuristic project. The conceptual analysis of the texts created by K. Malevich (1879–1935) in the period from 1915 to 1922 and devoted to pointlessness has shown that the theory of Suprematism can be viewed as a kind of synthesis of ideas of the fourth dimension (Ch. H. Hinton) and the evolution of human consciousness (P. Ouspensky). It makes it possible to regard the principles of the theory of suprematism through the prism of the concept of the Event. Though the term itself was never used by K. Malevich, the idea of a new way of seeing and a flash of the reason that leads to the possibility of subjective transformation are in line with the meaning of the Event, as seen in philosophical and esoteric thought. The article puts forward the thesis according to which K. Malevich was exposed to these ideas in the atmosphere of spiritual quests of the 1910s and early 1920s. K. Malevich, M. Matyushin, and A. Kruchenykh took part in the production of the opera Victory over the Sun which served as a venue of creative interaction and an outlet for creative approaches and conceptual reinterpretation. Here one can clearly see the logical isomorphism of the artistic practice of the opera creators, based on a specific interpretation of time and the idea of the evolution of consciousness, and those ideas that underlay the esotericism of their time. Another indirect argument in favor of the thesis about the presumed parallelism of the theory of K. Malevich and the concept of the Event is the performative nature of the texts written by the author of the Black Square. According to K. Malevich, through overcoming meaning as the victory over reason and objectivity, the gap between the modus of postulating the possibility of transformation and the real experience of the sense of immortality. This also points to the similarity of his ideas and the esoteric project of irrational cognition and control over the mysterious. Thus, Suprematism can be interpreted as the Event of subjective transformation, and the theory of Suprematism can be viewed as a tool that allows one to experience a sense of immortality, accessible to both the creator and the viewer, who develop the creative will for the future.

Цель статьи — проследить преемственность в развитии идеи и понятия пространства-времени между «первой волной» и «второй волной» русского авангарда, пользуясь методом «прибавочного элемента» К. Малевича. Развитие именно этих идей и понятий оказалось решающим для искусства всего XX века и далее, продолжая распространяться на новые его формы, включая инсталляции, перформансы и digital art. Трансформация этих идей и понятий оказалась такой же важной, как открытие в эпоху Ренессанса пространственного измерения в изображении — перспективы. Апеллируя к теоретическим работам К. Малевича, а также к философскому и научному контексту его времени и XX века, исследование демонстрирует онтологическую преемственность по существу идей первых русских супрематистов и дальнейшее развитие их сегодня. В статье эта преемственность показана на примере творчества двух живых классиков второй волны русского авангарда 1960–1970-х годов — Сергея Бордачёва и Александра Юликова. Работы обоих художников находятся в коллекциях Третьяковской галереи, Русского музея, музея Циммерли (США) и центра Помпиду (Франция).

This essay focuses on the emergence and development of the concept of faktura in Russia. The term can be translated by the French term "facture" which is frequently used in art history, denoting how a thing is made. The English translation of faktura as "texture" is less satisfactory. The author argues that faktura or facture was fundamental to the development of modernism in Russia. He analyzes the statements of Kazimir Malevich and his artist colleagues concerning facture and Paul Cezanne's works and argues that Malevich's analysis of Cezanne's surfaces – his pigments, colors, brushstrokes, stratigraphy – shaped modernism and sparked a shift away from tangible materi-al textures to immaterial Suprematist facture. [ABSTRACT FROM AUTHOR]

This article looks at the way in which the work of Paul Cezanne and the theory and practice of Cub-ism were integral to the pedagogical system that Kazimir Malevich developed while working at the State Free Art Studios in Vitebsk 1920–1922. The article focuses, in particular, on the role of the Cub-ism workshop, which was run by Vera Ermolaeva, who had studied in Paris. In the initial stages, students studied Cezanne's approach to painting, before progressing to Cubism. Thanks to the work of Malevich and his colleagues, several students mastered the first stage of the artist's pedagogi-cal system. [ABSTRACT FROM AUTHOR]

The article examines the correlation between the stylistic iconography of traditional Ukrainian embroideries and the experiments in modernist painting that led to the emergence of abstraction, Suprematism in particular. The focus is made on the artistic output of the embroidery workshops in the villages of Verbivka and Skoptsi, both located on the territory of present-day Ukraine, in the early 1910s. These studios, led by Natalia Davydova and Alexandra Exter, and Yevheniia Prybylska, respectively, engaged 'leftist' artists and local artisans to produce a new type of embroidery, relinquishing the mere stylization characteristic of other kustar studios in the Russian Empire. While scholars in Ukraine have undertaken extensive research to highlight the centrality of the Ukrainian context in progressive artists' engagement with folk embroidery on the territory of the Russian Empire, internationally this phenomenon is still largely viewed under the generalized imperialist term of the 'Russian avant-garde'. Using existing scholarship as the foundation, the present article seeks to redress this misconception. It also recognizes the long overdue need to situate the handicrafts revival movement in Ukraine within the broader framework of the engagement with vernacular culture by the nationally minded intelligentsia in East-Central Europe, while contrasting it with similar undertakings in Russia proper. [ABSTRACT FROM AUTHOR]

The article is devoted to the figure of Kazimir Malevich as an artist and art critic, who introduced new tendencies and approaches to the depiction of objects into traditional art; representation of the artist in avant-garde discussions in the period of his teaching at the Kyiv Art Institute in 1928–1930; searches and experiments of the artist, which were closely connected with the feeling of modernity and new impulses in culture. Malevich’s activity on creation of a unique history of art of Modernism is revealed. It is shown that the scientific controversy between artists over traditional approaches and pictorial methods acted as a catalyst for the development of a new direction in modern art. Discussions between Kazimir Malevich and Mykhailo Boichuk became fundamental for an artistic discussion which continues among contemporary artists and art critics. The artist based his work on objectlessness, which became a method of interpreting art. In this way, he shifted the emphasis from defining the content to defining the form, the very essence of art. Being a theorist, Kazimir Malevich discovered the patterns of development of art form, explaining the importance and sequence of emergence of each new direction: Suprematism, Cubism, Cubofuturism. Artistic discussions with contemporaries were of great importance. Malevich’s ideas continued to spread thanks to students and like-minded people who developed them and developed new approaches to painting techniques. The experience embodied by the artist at the Kyiv Art Institute showed the peculiarity of the artistic space that was formed in Kyiv in the late 1920s. Kazimir Malevich’s ideas are a promising scientific research for both historians and art historians as they show new facets of the avant-garde style.

Kazimir Malevich’s famous Black Square (1915) can be considered the emblem of the Russian avantgarde in its First historical phase; its poetic equivalent is the cubo-futurists’ zaum’. The purity of form in the ‘objectless’ representation appeared then as the premise of a new perception of the world and of its possible reconstruction from zero with infinite potential. The work of Daniil Kharms is fully in line with this utopian tradition but will gradually come to show its limits and dangers. In the thirties his work articulates the threat that nothingness poses to the original purity, when ‘void’ [pustota] rhymes with ‘purity’ [chistota].

The article examines the paintings by Eduard Steinberg, a Soviet non-conformist painter from the 1950s to the 1980s from the standpoint of the plastics of his language. The author focuses on Steinberg's polemical dialogues with the greatest names in Russian and European avant-garde art, including both common points and disagreements. By analyzing the painter's texts through the prism of poetics of the invisible and the ontology of traces, the author observes Steinberg's early art of the 1960s and 1970s as an attempt to create a symbolic language and attach an ideographic status to art. Through simultaneous use of two artistic strategies—mystical and religious symbolism, coupled with metageometry Steinberg arrives at optical formalism and spectator dialectics, vying to see the invisible and record the polysemantic nature of the symbolic sign. The article analyzes the influence Vladimir Veisberg and his "invisible painting" had on Steinberg, including the "white on white" style, as well as Giorgio Morandi's still-life vision of metaphysical painting. The author believes that by relying on analogies and reminiscences, Steinberg refers his audience to his predecessors and joins them in an intertextual dialogue. A special place here belongs to Kazimir Malevich with his radicalism, his trend towards metasymbolism and the language of the basic forms—the circle, square and cross. All of these are close to Steinberg's geometric plastics of the 1970s and 1980s. Staying true to the pure forms of Suprematism, Steinberg builds up an aesthetics of the geometric forms of his own, where abstract art comes together with the ontological progress towards God. The Countryside series (1985–1987) shows influence of Кazimir Malevich's Peasant Cycle, some principles of icon painting and Neo-Primitivist art. [ABSTRACT FROM AUTHOR]

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of the study is to identify the features of the introduction of avant-garde concepts in the design of household items, in particular, utensils in Mezhyhirya Art and Ceramics College and to track the use of modern techniques and materials by boychukists, suprematists, constructivists and art deco in domestic art and design culture. The methodology of the research is based on the principles of comprehensiveness, methods of general scientific comparative studies, formal-stylistic and art analyzes. The scientific novelty lies in the identification of artistic features of the work of avant-garde artists in the pursuit of blurring the boundaries between art and life. The specifics of the appeal to ceramics and porcelain of avant-garde artists of Mykhailo Boychuk’s circle in Mezhyhirya Art and Ceramic Technical School-Institute (V. Sedlyar, I. Padalka, P. Ivanchenko, P. Musijenko, D. Golovko), groups of suprematist artists at Leningrad porcelain factory are described (K. Malevich, I. Chashnyk, M. Suietin), as well as J. Dindo, who balanced between constructivism, suprematism and art deco. Conclusions. The results of the study show a certain phenomenon of avant-garde artists from different schools developing in different countries, which consisted in the implementation of often very similar ideas in the design of household items. It was found that this phenomenon was caused not so much by the influence of artists on each other, as by the source of common worldviews. Both the representatives of the Bauhaus and the Ukrainian avant-garde proceeded primarily from the need to modernize life, the rejection of the dominance of historical styles in the design of things. Thus, the details of everyday life, like utensils, get the maximum simplification of forms, the use of new, sometimes unusual materials to the embodiment of graphic decor, inherent in a certain avant-garde direction.

The article reviews two concepts of space organization - three-dimensional in the architecture of Mies van der Rohe and two-dimensional in the paintings of Kazimir Malevich. Common spatial features were identified between the two concepts, which formed the basis of a competition project on interaction between space and color: Mies van der Rohe: Color Discourse. The key characteristics of architecture and painting thus combined resulted in a spatial experiment on interaction between color and space with reference to the synthesis of K. Malevich’s suprematism and Mies van der Rohe’s architecture. This experimental project became not only a response to utilitarian demands, i.e. provision for emergency evacuation requirements, functional filling, vital needs, etc., but also a presentation of a way to form a ‘colorspace’ as a specific type of substance and to explore some aspects of its formation. The project illustrates the process of their interaction with each other and the creation of new spatial properties and perceptions of the architectural object’s internal space.

V članku je predstavljen odnos Kazimira

Pavel Peperštejn je slikar, pisac, teoretičar

The Colour Avant-Garde is a paradigm of the profession and culture in Russia of the early 20th century, a symbol of a new world perception and a feature of style formation. It is considered a living space of the new reality with an active intrusion of colour into all spheres of life in the country. The “new painting” is interpreted as a quintessence of the colour avant-garde, which introduces the ideas of style formation of the emerging epoch. The reminiscences of the colour avant-garde in contemporary culture show the significance of the avant-garde ideals and the attempts to use it as a fashion brand and a selling idea.

Je mogoče s povezavo Malevičeve slike

Razprava analizira pojem mimesis

Članek ponuja eno izmed možnih genealogij

The article examines the correlation between the stylistic iconography of traditional Ukrainian embroideries and the experiments in modernist painting that led to the emergence of abstraction, Suprematism in particular. The focus is made on the artistic output of the embroidery workshops in the villages of Verbivka and Skoptsi, both located on the territory of present-day Ukraine, in the early 1910s. These studios, led by Natalia Davydova and Alexandra Exter, and Yevheniia Prybylska, respectively, engaged ‘leftist’ artists and local artisans to produce a new type of embroidery, relinquishing the mere stylization characteristic of other kustar studios in the Russian Empire. While scholars in Ukraine have undertaken extensive research to highlight the centrality of the Ukrainian context in progressive artists’ engagement with folk embroidery on the territory of the Russian Empire, internationally this phenomenon is still largely viewed under the generalized imperialist term of the ‘Russian avant-garde’. Using existing scholarship as the foundation, the present article seeks to redress this misconception. It also recognizes the long overdue need to situate the handicrafts revival movement in Ukraine within the broader framework of the engagement with vernacular culture by the nationally minded intelligentsia in East-Central Europe, while contrasting it with similar undertakings in Russia proper.

While Kazimir Malevich is widely known for his suprematist contributions to art, little attention has been granted to his articulated philosophical premise and methodological manifestation concerning the non-objectivity of thought and its relationship to feeling. This paper shows how Suprematist philosophy gives rise to the concept of pedagogical sensing that was first characterized by UNOVIS. Casting Suprematist aspersions on dominant educational practices that seek to reproduce what seemingly 'is', a non-objective collapse of all-too-certain frames is replaced by abstract essence. As with the painter, teachers may be correspondingly invited to represent learning without past prejudice, as a creative contemplation in constituted spaces comprised of thoughts and feelings, that are so beautifully manifested through Malevich's pieces of art and his associated, hitherto unrecognized, suprematist call to arms in education. [ABSTRACT FROM AUTHOR]

The article considers philosophy of Furry logic theory and Probability theory as natural sciences, side by side with differing features of these theories, their similar aspects are also studied from the philosophical point of view. Using mechanism of intellectual foundation of philosophy of both theories as a mean - bridge at creating the pieces of art works and related to it conception are suggested. Purpose: study of philosophy of two scientific theories and examining it in the literary context. Methodology: approach to both these theories from the point of view of philosophicalscientific system. Scientific novelty: arithmetic analysis of both theories from scientific-philosophical point of view and grounding the use of philosophy of these theories in proposed model for creation of intellectual textes of art. [ABSTRACT FROM AUTHOR]

The purpose of the article is to establish the contribution of Ukrainian avant-garde artist, pedagogue, theorist Kazymyr Severynovych Malevych to the Ukrainian and world pictorial art. The methodology consists of a range of methods: historical, biographical, theoretical. The abovementioned methodological approach allows studying the question of historical data relating to the events in Ukraine that led to the emigration waves, finding out certain biographical facts and analyzing the artist's creative activity. The scientific novelty of the research is in establishing Kazymyr Malevych's contribution to the development of the Ukrainian and world pictorial art. We have studied the special features of his art, theoretical works and teaching activity, as these were an important factor in preserving and popularizing the Ukrainian culture. Conclusions. Malevych's life and art have become the valuable heritage of the whole world. He influenced the development of visual arts with his activity and personally created direction in abstractionism. Guided by his own research and artistic search, he established a new direction in avant-garde art - suprematism, which became a unique phenomenon for fine art. His style was a major influence for visual arts, architecture and design. Malevych elaborated his own manner of teaching art to students. He was followed by Ukrainian and German constructivists, American minimalists and French abstractionists. His creative ideas are still relevant to this day. [ABSTRACT FROM AUTHOR]

Talking about monochrome painting is a complex issue, due to the impossibility of considering it as a pictorial genre with unique characteristics, and due to the difficulty of framing the variety of artists who can be ascribed, in different ways, to this movement. This essay is intended to be a historical-critical reflection on the initial phase of monochrome painting, in order to clarify how the pictorial roots of modern monochrome are to be found in the context of the experiences relating to abstraction in the early 1900s, in particular, in Malevič and Rodčenko. Although this genesis is well-known, highlighting the ambivalences of the beginnings can contribute to enrich our perception of the “tradition of the new” in many of its dualisms.

The avant-gardes of the nineteen twenties are discussed in the art historical literature as the art products of a rarely upbeat decade, which featured great utopian aspirations and progressive art between the wake of World War I and the Nazi takeover in Germany, as well as the consolidation of Stalinism in the Soviet Union. This essay depicts the decade as being far from a homogenous period, demonstrating that the early internationalism and sense of unlimited possibilities gave way, in or around 1923, to less idealistic, more pragmatic views and practices in even the avant-garde. If examined in this framework, the reception of avant-garde artists and works in the late 1920s that had been enthusiastically embraced in the first years of the decade, was understandably cooler. Professional eminence was overwriting great ideas. The lack of the earlier fervor had disappeared, not because the art was worse, but on account of the new Zeitgeist that brought about the new moral idea of utilitarianism, requiring that the artists be, first of all, of use to the community. Several artists and art writers suddenly turned against those ideas and art that they had only a short time earlier held in the highest esteem. [ABSTRACT FROM AUTHOR]

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines Kazimir Malevich’s Suprematist art in the context of negative (apophatic) theology, as a crucial tool in analyzing both the artist’s theoretical conclusions and his new visual optics. Our analysis rests on the point that the artist intuitively moved towards recognizing the ineffability of the multidimensional universe and perceiving God as the Spiritual Absolute. In his attempt to see the invisible in the formulas of Emptiness and Nothingness, Malevich turned to the primary forms of geometric abstraction—the square, circle and cross—which he endows with symbolic concepts and meanings. Malevich treats his Suprematism as a method of perceiving the ineffability of the Absolute. With the Black Square seen as a face of God, the patterns of negative theology rise to become the philosophical formula of primary importance. Malevich’s Mystical Suprematism series (1920–1922) confirms the presence of complex metaphysical reflection and apophatic thought in his art. Not only does the series contain icon paraphrases and the Christian symbolism of the cross and mandorla, but it also advances the formulas of the apophatic faith of the modern times, since Suprematism presents primary forms as the universals of “the face of the future” and the energy of the non-objective art.

Fried's assertion that Constructivism was a source for Minimalism is supplemented by Donald Judd's interest in Suprematism. By reading Judd's review of Kazimir Malevich's 1973 exhibition in the Guggenheim Museum, this article locates similarity between the two artists' fascination with painting's inbuilt objectness that drove them into three-dimensional art. Judd's reading of Malevich's work that the author supplements with her own historical analysis reveals that Fried's characterizations of Minimalism as theatrical, reliant on a viewer, and not interested in ritualizing a single painting, was accurate. Another theme of this article is Judd's realization -- shortly before his death -- that damaged Soviet objecthood, a leftover of the Suprematist Utopia, was an antithetical partner to 'Specific Objects'. [ABSTRACT FROM AUTHOR]