so that these blacks do not go to waste.” 3 April 11, 1919, in Varvara Stepanova, Chelovek ne mozhet zhit’ bez chuda: pis’ma, poeticheskie opyty, zapiski khudozhnitsy (Moscow: Sfera, 1994), 71. Denying Rodchenko’s black paintings their own meaning, she adds, “Anti wanted to hang. In total, the catalogue lists 220 works. In this categorical summation, she dismisses the other participants’ works, including her own, for the sake of the approbation of a black-and-white dialectic. Other participants included Aleksandr Vesnin-color compositions Natalia Davydova-Suprematism Ivan Kliun-Suprematism, color compositions, and nonobjective sculpture Malevich-Suprematism Mikhail Menkov-Suprematism and combination of light and color Lyubov Popova-painterly architectonics from 1918 and prints from 1917 Aleksandr Rodchenko-Abstraction of Color, Discoloration. Bespredmetnoe tvorchestvo i Suprematizm(Moscow: IZO Narkompros), 1919. The rest is nonsense.” 2 See Katalog desiatoi gosudarstvennoi vystavki. Varvara Stepanova, whose diary is a unique source for this endeavor, assessed the Tenth State Exhibition as “a contest between Anti and Malevich. The Museum of Modern Art Archives, New York. ![]() Photo: Jonathan Muzikar Installation view of the exhibition, Russia: The Avant Garde. Installation view of the exhibition, Inventing Abstraction: 1910 – 1925. State exhibitions were organized by IZO Narkompros in Moscow between 19. Yet in the current hanging at MoMA, White on White and Black on Black (which are part of Malevich’s larger White on White series and Rodchenko’s Black on Black series, respectively) are split by Lyubov Popova’s Painterly Architectonic (1917), prompting a reexamination, on the centennial of the Tenth State Exhibition, of the relationship between white and black paintings, including their historical and cultural contexts. ![]() 1 Aleksandra Shatskikh, Black Square: Malevich and the Origin of Suprematism (New Haven and London: Yale University Press, 2012), 265. The importance of MoMA’s exclusive opportunity to display these two paintings side by side, thus reconstructing “an original installation” from the Tenth State Exhibition: Nonobjective Creation and Suprematism (1919), is accentuated by Aleksandra Shatskikh in her book Black Square: Malevich and the Origin of Suprematism (2012). 80 (Black on Black)(1918), both in the Museum’s collection, are inseparable. In the installation shots of past MoMA exhibitions dedicated to abstract art and the Russian avant-garde, Kazimir Malevich’s Suprematist Composition: White on White(1918) and Aleksandr Rodchenko’s Non-Objective Painting no. John Hay Whitney Bequest (by exchange) Aleksandr Rodchenko. 1935 Acquisition confirmed in 1999 by agreement with the Estate of Kazimir Malevich and made possible with funds from the Mrs. ![]() ![]() Art historian and curator Margarita Tupitsyn traces here a geneology of nonobjective painting in post-revolutionary Russia through the dynamic relationship of these two artists and their monochrome interventions. Since that time, both paintings have made their way into the MoMA collection, and have been similarly displayed in the museum galleries. 80 (Black on Black) hung side by side in the Tenth State Exhibition in Moscow. One hundred years ago, Kazimir Malevich’s Suprematist Composition: White on White and Aleksandr Rodchenko’s Non-Objective Painting no.
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