Posts

The Pixel as Suprematist/Minimalist Art

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During the latter part of 2000, Chambers began to look at the pixel within the context of Suprematist / Minimalist art. He equated the pixel with the works of non-objective artists like Vasily Kandinsky , Barnett Newman , Mark Rothko , Ad Reinhardt , Kazimir Malevich , Piet Mondrian and others. They generated works to establish an abstract visual language of the sublime, pure color, geometric form, deep contemplation and metaphysical pursuit of the truth. http://tomrchambers.com/pixel_sup_min_art.html The pixels or "Pixelscapes" - as he calls them - conform with many of these non-objective artists' works. They are a revelation for him when compared to these non-objective works generated many years before the pixel and Digital Revolution. It seems that he has managed to do what Kazimir Malevich and other Suprematists (Minimalists) have done through the simple process of magnification and isolation of the pixel(s). JD Jarvis, Art Critic/Artist and coauthor

Suprematist Variations on Kazimir Malevich's "Spring Garden in Blossom" (1904)

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This project comprises 30 pieces (18"x18" each for exhibition) that play on Suprematist variations of Kazimir Malevich's "Spring Garden in Blossom" (1904) after glitch treatment and magnification of the digital reproduction of the painting. http://tomrchambers.com/spring_garden.html These pixel configurations ("Pixelscapes") rival works in Suprematism, Abstraction, Minimalism, Geometric, and Color Field art movements. They are brought to the forefront via this early work to celebrate Malevich's latent and ultimate creativity which gave way to Suprematism with the display of "Black Square" and other works in 1915 as part of the Last Futurist Exhibition of Paintings 0,10. A "glitch" is a disruption in a system. Also, Glitch Art - the aestheticization of digital or analog errors - is a current, viable art form that includes workshops, lectures, performances, installations and screenings worldwide. (Wp) "Spring Garden in Blosso

Suprematist Variations on Kazimir Malevich’s “Three Women on the Road” (1900)

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This project comprises 24 pieces (18"x18" each for exhibition) that play on Suprematist variations of  Kazimir Malevich 's "Three Women on the Road" (1900) after glitch treatment and magnification of the digital reproduction of the painting. http://tomrchambers.com/three_women.html These pixel configurations ("Pixelscapes") rival works in Suprematism, Abstraction, Minimalism, Geometric, and Color Field art movements. They are brought to the forefront via this early work to celebrate Malevich's latent and ultimate creativity which gave way to Suprematism with the display of "Black Square" and other works in 1915 as part of the Last Futurist Exhibition of Paintings 0,10. A "glitch" is a disruption in a system. Also, Glitch Art - the aestheticization of digital or analog errors - is a current, viable art form that includes workshops, lectures, performances, installations and screenings worldwide. (Wp) "Three Women on the Road&

“Black Square” - “MDM-18/My Dear Malevich”

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  “Black Square” - “MDM - 18/My D ear Mal evich” What does finding Kazimir Malevich’s “Black Square” in the form of a pixel (“MDM-18”/”My Dear Malevich”) - via a digitized portrait of Malevich - mean for the 21 st Century digital art scene and as it relates to 20 th Century Modernist Art? Does this singular pixel level arrangement echo back directly to Malevich’s own totally abstract composition? The digital process becomes a metaphor for Malevich's own journey deep with himself - his discovery of the non-objective soul of art contained within the objective world as to constitute a form of visual poetry with his “Black Square” and other Suprematist forms. Malevich, who died in 1935, may have been aware of the concept of a "picture element/picture point" - " Bildpunkt " (the German word for pixel ) - in the 1888 German patent of Paul Nipkow. According to various etymologies, the earliest publication of the term “ picture element” itself was in Wireles