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Exploding Tongues: Language, Art, and the Russian Avant-gardeMain MenuBack to Futurism: Russian Artist BooksIntroductory Page by Chris GilmanBookENDS: A Working Theory of Textuality as Cultural Dominant, 1912-An Introduction and Conclusion to a Semester's Investigation into the Book Arts as an Avant-garde PracticeBook Case StudiesCollaborative Research by Case StudiesBig Bang: Timeline of Russian Avant-Garde Book Arts and Their Cultural ImpactsA Timeline of Russian Avant-Garde Book Arts and Their Cultural ImpactsCoaRse CaLIBrationARTS 227 "Introduction to Letterpress Printing" (Pedersen) and CSLC134/RUSN334 "Exploding Tongues" (Gilman)NthOlogyA limited edition collaborative book arts project by students of ARTS 227 (Pedersen) and CSLC 134/RUSN 334 (Gilman), Spring, '17MANIFESTERS (AB & Kelly): A portfolio of process and productsAppendix: A Path Through Russian Avant-Garde BooksChristopher Gilman1985b99a2acd541caa12a10c3ebf6896565283abDexter Blackwell92e005ca94195f836c6089cf147faff4c74fa79eZoe Foster-La Duc1c8954189fb3ee4ab6e36bfb90fae86777eab97Stephen Heim7069d17c035042745c96bc6c7619096cd7b33da4Kelly Kirklande1805e502570d093d70f00df18f145c99290d0a3Ian Lehineb028c384a69e4b92166e7791b002fa3f2cee5818Timothy Lewis13880d3d99b4b71ce85be63e69a6d44e38853d68Jmedina29ac3fc10003fb639ac412984b59b01a5b826e161Taylor Robinsonaa08dd3939f1f1c6162c5518ae531385e51659afEvan Sarafian042e10782d9a6d3f0001a4b35abb02f58ad84684Craig Dietrich2d66800a3e5a1eaee3a9ca2f91f391c8a6893490ILiADS (Institute for Liberal Arts Digital Scholarship)
The Sudden Figure
12017-02-23T10:45:50-08:00Evan Sarafian042e10782d9a6d3f0001a4b35abb02f58ad846841204121plain2019-02-25T12:48:02-08:00Evan Sarafian042e10782d9a6d3f0001a4b35abb02f58ad84684A common element in Kazimir Malevich's suprematist works is an ambiguity of proper orientation. This ambiguity allows for multiple different images to become apparent based on the perspective used in observing the work. One image that can be recognized in Malevich's works is the appearance of the human figure. This figure, "the Sudden Figure", is sometimes evident in the "correct" or accepted orientation of a painting, such as is the case with Malevich's Suprematist painting. Rectangle and Circle or Painterly Realism of a Football Player - Color Masses in the 4th Dimension.
In the case of Suprematist painting. Rectangle and Circle, the Sudden Figure is sudden in that it is fairly easy to recognize in the simplicity of the work itself. The orientation does not need to be shifted. The circle represents the head and the rectangle represents the torso. Together, they create the image of a figure gazing down, suggesting a solemn mood to the piece. This somber atmosphere is accentuated by the slight tilt in the rectangle.
The figure in Painterly Realism of a Football Player - Color Masses in the 4th Dimension is a little more difficult to recognize, but its existence is revealed in the very title of the piece. The confirmation of its existence makes the search for the figure a little easier. Looking at the painting, the large black shape at the top can represent the head while the yellow object can represent the torso. This is evident just from their relation to each other and its similarity to the shape of a body. The other shapes are less clear, but with the hint that this figure is a football player, then one can observe the long bar connected to the block and see that this painting is capturing an act of motion in the middle of its execution. As the bar swings down, the large block knocks into the next smaller block which rights it and causes it to knock into the red block which rights it and causes it to knock into red bar which swings into the ball. All together, this represents the leg of a football player kicking the ball and just as the human leg is made up of many different parts, so is Malevich's suprematist interpretation of a leg.
With some of Malevich's paintings, it is more difficult to see the Sudden Figure and its sudden explosion to life requires a manipulating of the work, specifically manipulating the orientation. At first glance, Suprematist Composition: Airplane Flyinghas no figure, or any shape at all. The title suggests that there should be a Sudden Airplane, but upon looking at the piece "upside down" (but not truly upside down, because that would imply that there is a single "correct" orientation) the Sudden Figure can be seen carrying a stack of boxes. The figure is more abstract in that it is not the shape of a complete person, but only the top half. However, it is more complete than other examples in that it is composed of more parts rather than a simple "head" and "torso".
These are just a few examples of the inclusion of a common image in Malevich's works, the Sudden Figure being just one possible example. When the viewer actively searches for these common images, elements of the painting that may have once appeared random or insignificant take on new meanings and allow for more complete interpretations.
