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I totally agree! He should be listed as a Ukrainian artist! Alexsandra Exter as well!

MalevYch was born and lived in Kyiv, and for a while in Moscow, but he was and considered himself a Ukrainian artist.

I just saw your post, THANKS! It's my first film. I still can't believe how much work it was!

Much of the collection is viewable at www.artofthezero.com.

Thanks so much for your wonderful review. You see exactly what we were trying to convey. So few people understand the conditions under which art of this period flourished. These artists were, more than anything, on a spiritual journey. It's a disservice to speak of this art as some sort of formal exploration. The way it's often taught and spoken about is way too analytical. These works are more alive than most people. Thanks for seeing that! Hopefully, we're on to our next film soon. We want to try and make it a seance - dreams, collisions of meaning, or something...

Thank you much. It’s validating as I’m an autodidact. I’ve been studying this for the last two years. I like the opening of the film. I see the crossroads and the dirt track road that leads to the black dragon. No seances for me, though. These works ARE alive, as in ensorcelled, but not in a good way.I propose that the black square is actually Satan. Through my previous past in the occult, I believe I met that being and he presented himself as a black door. Perhaps the black monolith is a representation of that. Like black metal, like distortion, surrealism, cubism, etc. the avant-garde and witchcraft only seek to distort and disfigure, critique and destroy, which not so obviously to those who get involved, makes it very dangerous stuff that also smacks of the arrogance and pride of Lucifer. I like how you describe how his art was “worthless” in the beginning. Another name for the devil is Belial (worthless, without value). But it convinces you of its value through constructivism and language and the changing of meanings. Indeed, you found a male witch.

“I’ve never been so wrong about anything in my life.” Says it all.

I didn't know that show was still in production. The problem with the show that I've seen is that they often defer to deeply flawed "experts" when it comes to assessing Eastern European and Russian art of this period. As I suspect you are aware, people who hold themselves out as representatives of an artist's legacy are nearly always entwined and beholden to the market makers. Every gatekeeper that I've dealt with is corrupt to the core, from museum directors to third-tier dealers, auction houses, and academics. Most are just handmaidens to monied interests.

@@I_FOUND_MALEVICH It is probable however it may be your best shot at this moment. You'll reach an investigation level which you may not afford on your own. And as far I can see, your collection isn't in a better situation, authentication wise.

Wow, Thanks for such a kind and insightful critique of the film! Yes, these artists' nationalities and religious backgrounds were very diverse; many were Ukrainian. However, I don't know how important that is in the grand scheme. For me, the work they were producing was a universal language. I think much of it is very mystical and esoteric in a very meaningful way. Some people get it. Some people don't. Your experience of the eclipse sounds very magical. I was lucky enough to make it to an area where it was total. It was mind-expanding. One of the exciting things I've learned is that Russia had a total solar eclipse on August 21, 1914. It was undoubtedly witnessed by many of these artists. In a couple of Malevich's paintings, he has the words "Partial Eclipse" as compositional elements. Also, many of Rodchenko's paintings seem to be interpretations of eclipses and celestial events. Interestingly, the eclipse that we witnessed in August of 2017 also occurred on August 21st, 103 years to the day. In the film, I messed up and wrote “August 12” It should have read the 21st. Rita Says, the brilliant performance artist who appears in the film, came up with a reference to the Egyptian Goddess of the Sun. She made the film work, and all of the music is by her and her Jerico Orchestra. All of their songs are like incantations, really remarkable stuff. If you're interested in seeing more of her work, it's on VIMEO under Rita Says and the Jerico Orchestra. I recommend their rendition of Marinetti's Zang Tumb Tumb - it's fantastic!

@@I_FOUND_MALEVICH thank you for sharing all of this! So interesting the August 21st date, very synchronistic. I will definitely check out Rita's work, thank you for recommending it. I just watched the Orphan museum piece with all of the works... astounding. Just trying to absorb first impressions. I'd love to know the catalogue of the artists to the works that are known. I did notice the eclipse paintings! Also, I'm curious about the piece at 13 minutes in and what the words mean and who the artist is. The partial icon in the piece is Mary of Ausros Gate (Gates of Dawn) in Vilnius that dates back probably to the 1600s. I traveled there in 1997, staying in a train car at the station for 50 cents/night. It's a significant icon historically for many reasons, and is the site of the unveiling of the original painting of the Divine Mercy commissioned from the visions of Sister Faustina. It was revealed there just prior to the outbreak of WWII and the painting was exiled to safety in Belarus for 30+ years under Soviet occupation, and was just returned when I was there. It's in another church just down the road. The essential message given to Sister Faustina by Christ was "tell the people that I am Mercy, and not all these rules", which seems to be similar to the populist and communal aspect of the Advant Garde. Breaking down structures and creating anew from simplicity and new vision. That piece in the collection speaks to me that a sacred icon is the same as a pitcher, or a mu, or anything. All have equal, valid, yet different purpose and form. Sister Faustina was having these visions and writing them down while stationed in Vilnius probably in the late 20's early 30's. I wasn't able to get into Ukraine then but wanted to. My biggest takeaway from the Baltics, but especially Lithuania was that all of the centuries back to the 1300s were alive in the ethers all at once. Very magical. I did order the Lerner book btw ☺️

Hi, It’s a bummer that you bought Lerner’s book! Letting him write it was a big mistake. My brother and I did all the academic/attribution research, and I took all the pictures. In the end, he gave no credit and even claimed publicly that the exhibit at MCA Denver was his personal work of art! I never understood what the book was about. I hoped he might have something to add-no such luck. The story he tells is very early, and because I wasn’t given the courtesy of reviewing a tally copy, it’s full of factual errors. Some friends even distanced themselves because of it. It was that bad. On a brighter note, I always had faith in these works and their ability to rise above human folly, greed, and ego. I’ve come to see the works as being the echo of those who made them - the paintings are more alive than many people! I like your story about your pilgrimage to experience the spirituality of Sister Faustina, I’d never heard of her, but I take such people very seriously. As I get older, I see things as being more connected. I took a trip to Belgium a few years ago that had a profound effect and reminded me why I’m so drawn to this art. And why I fear that it will be lost again. I’m not sure of the painting you mention appearing at minute 13. If it’s the oval painting, that inscription, I believe, says, “Figure Cubism.” It’s one in a series that may be portraits of the great poet Anna Akhmatova. Sorry about venting about that silly book. I can’t let it pass without comment. I do have a website with three essays that I’ve written. They are far more relevant to the. Story and, I hope, tell the real story about the turmoil surrounding these works. The website is:www.artofthezero.com Thanks for reaching out and sharing! @@vatiammatri2660

@@I_FOUND_MALEVICH at least I ordered a used copy, lol. I was wondering about it for some reason so now I know. The Lithuanian thing was astounding because I really didn't go there seeking out Faustina, I just fell into it. The ancient Lithuanian gods and goddesses were just as present! Through following up on Malevich' life story and journey from some You Tube classes it's all very profound and puts the art in context of the Revolution. That time period was very special. I'm also finding the work of the architect Zaha Hadid pretty mind blowing , based on her inspiration of Malevich's work. Anyway, the journey continues! I did read one of the articles on your website but will check out the others! Thx for all 🙏🏼

I think that, as a culture, we've been to dismissive of art's role and power contained in it. Part of this is due to the kitsch aesthetic we're currently inundated with. Hitler, Napoleon, and Stalin, all attacked and tried to control art and culture. Often the arts are the first thing to go dark. What's scary, is that according to many who study the development of authoritarian governments, kitsch is often an indicator that a culture is veering into fascism. Koons much?

Me, too! That's how I got here. Well done. Amazing film.

Thanks for taking the time to listen and watch! It's such a strange thing that I've gotten myself into. Maybe it's a cautionary tale.

@@kellytaylor3222 Thanks. I want to make another!

@@I_FOUND_MALEVICH perhaps a book someday:)

@@halley8890 Maybe. I have a few essays on my website www.artofthezero.com. The essay ART OF THE ZERO CATEGORY is a few years old, but with lots of addendums. The EMPIRE OF LIGHT/LIES is actually all true and very sad. So, yes, maybe a book of essays someday. Thanks for the encouragement!

Thanks for your kind words Vic! If someone would have told me 5 years ago that I'd be making a film, I'd have thought they were either nuts or overly optimistic. I finally realized that I needed to tell this story, then nothing could stop me. Like climbing I suppose, you lock onto a target and don't stop!

Thanks Matt!

You nailed what I was trying to do. I had an epiphany a couple of years ago when I walked into the home of a collector of this art in Europe. Foor me, as an American, the home was deeply mysterious. The architecture was high - Art Nouveau, full of beauty, and it felt like it had never left the 19th century. The Russian avant-garde art on the walls seemed to vibrate with life. They were more alive than many people. I wanted to produce that feeling in the film, a seance of sorts. Thanks for taking the time to watch it and for giving me your thoughts!

Hi Alexander, Thanks for the kind word about the film! I always wonder how people perceive it. I had one viewer who hated the last 15 minutes! The music was fantastic, and I saw it from the very beginning as the auditory equivalent to the art. Rita Says and the band, The Jerico Orchestra was a big part of the film. She has a Vimeo page with a bunch of her/their experimental work, it's fantastic. No! I did not burn any actual paintings. I copied missing works from the Malevich catalogue raisonne, there are lots of images of missing works. I stretched canvas's and tried as best I could to replicate them in color. At some point I decided to photograph them burning. Thanks again!

Thanks for taking the time to watch it!

Thanks for taking the time to watch it!

I appreciate that you took the time to watch the film - Thanks!