Robert Chandler’s translations from the Russian include works by Vasily Grossman, Andrey Platonov, Alexander Pushkin, and Teffi. He is a coeditor of The Penguin Book of Russian Poetry and other anthologies.
 (December 2018)

IN THE REVIEW

Mikhail Fabianovich Gnesin

The tall building on Uprising Square is a monument to the luminary of all sciences. But soar up in the lift, enter Gnesin’s apartment— and cults and monuments slip out of your mind. With this tall stone needle Stalin may have scratched …

Fearless Malevich

Kazimir Malevich: The Knife Grinder (Principle of Glittering), 1912–1913

Malevich

an exhibition at the Stedelijk Museum, Amsterdam, October 18, 2013–February 2, 2014; the Art and Exhibition Hall of the Federal Republic of Germany, Bonn, March 8–June 22, 2014; and Tate Modern, London, July 16–October 26, 2014.

Kazimir Malevich and the Russian Avant-Garde: Featuring Selections from the Khardzhiev and Costakis Collections

Catalog of the exhibition at the Stedelijk Museum by Sophie Tates, Karen Kelly, Bart Rutten, and Geurt Imanse
Kazimir Malevich was perhaps the most fearless innovator in twentieth-century art. Aleksandra Shatskikh, whose Black Square is both informative and full of insight, writes of his “primordial ignorance of boundaries.” She goes on to suggest that Malevich possessed what Viktor Shklovsky has called “the energy of delusion”—an energy that springs …

On The Bank

He was sitting by the river, among reeds
that peasants had been scything for their thatch.
And it was quiet there, and in his soul
it was quieter and stiller still.

NYR DAILY

Malevich: Beyond the Black Square

Kazimir Malevich: Knife Grinder (Principle of Glittering), 1912–1913

There has never been a better year to look at the work of Kazimir Malevich, a pioneer of abstract art often seen as the greatest Russian painter of the twentieth century. The exhibition now at London’s Tate Modern offers us the chance to not only Malevich’s Suprematist work but also his early work—in styles that include Fauvism, what he called Cubo-Futurism, and the Dada-like style he called Alogism—and the figurative paintings of his later years.