view, Leonard Hutton Galleries, New York, 2010
Malevich/Kazimir Malewicz was born in 1879 near Kiev in the Kiev
Governorate of the Russian Empire. His parents, Seweryn and Ludwika
Malewicz, were ethnic Poles.
the Revolution, Russian intellectuals hoped that human reason and
modern technology would engineer a perfect society. Malevich was
fascinated with technology, and particularly with the airplane,
instrument of the human yearning to break the bounds of earth. He
studied aerial photography. For Malevich, that realm, a utopian
world of pure form, was attainable only through nonobjective art.
Indeed, he named his theory of art Suprematism to signify "the supremacy
of pure feeling or perception in the pictorial arts"; and pure perception
demanded that a picture's forms "have nothing in common with nature."
Malevich imagined Suprematism as a universal language that would
free viewers from the material world.1
individual images above for enlargements
along with Wassily Kandinsky and Piet Mondrian are considered to
be the first artists to have achieved a truly abstract painting
language and can be seen as primary precursors to the American post-World
War II art movement Abstract Expressionism. The McCarthy era was
a time of artistic censorship in the United States and it has been
argued by revisionist historians - although Abstract Expressionist
work was condemned by one politician as being coded maps to such
sensitive U.S. sites as Hoover Dam - that in the early 1950s the
CIA saw it as representative of the USA as a haven of free thought
and free markets, as well as a challenge to both the socialist realist
styles prevalent in communist nations and the dominance of the European
art markets. The book by Frances Stonor Saunders, The Cultural Cold
War- The CIA and the World of Arts and Letters, details how the
CIA financed and organized the promotion of American abstract expressionists
as part of cultural imperialism via the Congress for Cultural Freedom
the years 1972 and 1995 in the USA, inspired by the psychic abilities
of the New York artist Ingo Swann, the CIA funded a 'Remote Viewing'
program at Stanford Research Institute in California and at Fort
Meade in Maryland, where trained psychic spies attempted to use
remote viewing to identify and draw remote and inaccessible sites,
primarily in the Soviet Union/Russia, such as missile silos, submarines,
POWs, and MIAs.
Sites' is the name given to CIA run secret research facilities and
secret detention facilities, where enhanced interrogation techniques
are used on high value detainees. These sites are erased by the
CIA from aerial satellite imagery before it is made publicly available
on the Internet or elsewhere so that the facilities show up as blanks
on the map. While the U.S. has generally refused to disclose the
locations of these facilities, the specifics have slowly leaked
out. A recent study found evidence confirming CIA "black sites"
in 20 locations around the world, including Thailand, Poland, Romania,
Lithuania, Afghanistan and Kosovo.3
2. Saunders, Frances Stonor, The cultural cold war: the CIA and
the world of arts and letters. New York: New Press: Distributed
by W.W. Norton & Co., 2000.