Tag Archives: Malevich

Ryman at Dia Chelsea

'Arrow,' 1976, by Robert Ryman

The use of white focuses the viewer on the tactile — on the paint itself. It is tempting to see the subject of these paintings as the very process of painting itself.
But this simplistic reading overlooks a great deal. There always seems to be a point at which the meaning of a work of art is insoluble in language.”

from Ill said Ill seen: a meditation on Robert Ryman and Samuel Beckett – now online at The Finch – read more here

above: ‘Arrow,’ 1976, by Robert Ryman

10 White Lies

10 White Lies and Poem of the End: proof pages and printed and bound

10 White Lies and Poem of the End: proof pages and printed and bound

white lie (n.)

an often trivial, diplomatic or well-intentioned untruth

a minor or unimportant lie, especially one uttered in the interests of tact or politeness

 

10 images from various web sources present 10 dramatically different takes on the original. All are identified as Malevich’s White on White, but few succeed well in their interpretation. Continue reading