Unframe Malevich!: Ineffability and Sublimity in Suprematism
Malevich is on a roll, and everything suggests that the resurging interest in his work has just reached its high point. It began in Russia, where over the past decade the art historians caught up with their own past with commendable quickness and rigor: the publication of Kazimir Malevich's complete writings in five volumes under the editorship of Aleksandra Shatskikh is certainly a groundbreaking achievement, and Yevgenia Petrova's work on Malevich's legacy in the stacks of the Russian Museum in Leningrad is no less significant. In France, the publication of Andrei Nakov's catalogue raisonné of Malevich was followed by the major exhibition staged at the Musée d'art moderne de la Ville de Paris.