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MY DEAR MALEVICH
This homage to Kasimir Malevich is a confirmation of Tom
R. Chambers' Pixelscapes as Minimal Art and in keeping
with Malevich's Suprematism ... the feeling of
nonobjectivity ... the creation of a sense of bliss and
wonder via abstraction. Chambers' action of looking
within the Malevich photo to find the basic component(s)
... pixel(s) is the same action as Malevich looking within
himself ... inside the objective world ... for a pure feeling
in creative art to find his "Black Square", "Black Cross"
and other Suprematist works.
Exhibitions:
MDM-1 [My Dear Malevich] (Group Show), Homage:
Contemporary Art in Digital Media, Art Institute of
California, San Diego, California, U.S.A., September 11 -
October 15, 2010.
My Dear Malevich and Pixelscapes: First and Second
Generations, The H Gallery, Houston, Texas, U.S.A., July
10 - August 9, 2010.
MDM-1 [My Dear Malevich] (Group Show), Homage:
Contemporary Art in Digital Media, Escondido Arts
Partnership Municipal Gallery, Escondido, California,
U.S.A., July 9 - August 21, 2010.
Catalog:

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Novosibirsk State Art Museum [as a part of the aniGma-4,
Fourth Novosibirsk International Festival of Digital
Imaging], Novosibirsk, Russia [May 10 - June 10, 2007]
Brochure and Poster:
Art Gallery, Fine Arts Department, Zhaoqing University,
Zhaoqing, China [April 2 - 15, 2007]
Poster:
Museum of Computer Art [MOCA] [April - 2007]
Other:
Rhizome.org announcement re: My Dear Malevich at the
Novosibirsk State Art Museum, Novosibirsk, Russia
NewmediaFIX.net announcement re: My Dear Malevich at
the Novosibirsk State Art Museum, Novosibirsk, Russia

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Online version
Buy the "My Dear Malevich" book online:
New work [posters] utilizing paintings by Kasimir
Malevich to explore pixel configurations for "Pixelscapes":

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The premise behind the above "Pixelscapes" lies within
the fact that in the late 1920s Malevich abandoned
abstraction and returned to a figurative style in order to
meet the demands of the Communist Party. In 1923, he
was appointed Director of the Petrograd [St. Petersburg]
Museum of Artistic Culture, which was devoted to
contemporary art [Avant Garde]. The institute was forced
to close in 1926 by the Communist Party. It was said of
Lenin that he did not appreciate Avant Garde art. Malevich
was allowed to keep a small apartment, and in the last
years of his life, he was out of favor with the Government.
Socialist Realism was established as the official and the
only way of artistic expression. In 1930, Malevich was
arrested for a short period because of his contacts in
Germany. In 1933, he was accused of Formalism. Malevich
returned to figurative art, and in 1935, he died of cancer in
Leningrad [St. Petersburg].
And this premise becomes one of homage a second time ...
first, "My Dear Malevich" ... by utilizing paintings by
Kasimir Malevich to explore at the pixel level ... via
digitization ... aesthetic fields of "Pixelscapes" to rekindle
his thoughts about creation, "No phenomenon is mortal,
and this means not only the body but the idea as well, a
symbol that one is eternally reincarnated in another form
which actually exists in the conscious and unconscious
person."
The selection process uses the criteria: before and after
his Suprematist Period ... his early works, 1903 - 1915
and later works, 1928 -1933. His Suprematist works are
not a part of the process because they speak for
themselves, or in other words, they indicate this art
movement focused on fundamental geometric forms and
"the non-objective world".
In his book The Non-Objective World, Malevich described

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the inspiration which brought about the powerful image of
the 'Black Square': "I felt only night within me and it was
then that I conceived the new art, which I called
Suprematism."
The "within" as a part of his statement is an important
aspect of this approach taken for these "Pixelscapes". In
Chambers' opinion and at the subconscious level,
Malevich's Suprematist passion and emotions were a part
of him ... and coming to the forefront ... during his early
work, and suppressed during his later work. So in a
political sense, the pixel explorations indicate this passion
and these emotions by looking "within" his digitized
paintings to pay homage, a second time.