I do not usually become a fan of the avant-garde artist. If you listen to my podcast on Duchamp, you can quickly tell that it isn’t my favorite thing. I am not saying most of this art is bad, but much of it is downright ugly. The artist isn’t concerned with beauty, only doing something new. Oftentimes, these artists have no censor. They put out work that doesn’t contribute to understanding the world or people. Their art is simply unaware self-indulgence because they have somehow found themselves with the moniker of “creative” (I’m looking at you Yoko Ono). It isn’t interesting, and it isn’t insightful. They are trying to be edgy and are succeeding at only being derivative. That being said, I do not hate all avant-garde art. I am a fan of breaking the rules. When I find an an avant-garde artist that I like, I usually really like their work. What makes me like them more than the many people who are trying to be avant-garde today: struggle and opposition.
Kazimir Malevich is one of these avant-garde artists that I would not mind having on my wall. Before the communist revolution in Russia, he was making art similar to that of Mondrian. His work was as mathematical of Mondrian’s, but both focused on color, shape, and line. He believed that these three things should be the primary focus of art, and from this belief, he started an artistic movement called Suprematism. Up to the communist revolution, his work was interesting enough, but it was sterile. He had no limits. I am of the opinion that the communist revolution made his work better. Russian communism did not like abstract art. They had their own form of art called Socialist Realism that portrayed Soviet life as romantic and idealistic. They persecuted artists who did not fit into this mold. Malevich was one of them, but after the communist revolution, he did not suddenly become a realist. Instead, he began to incorporate his old ideas into new art pieces.
I think his newer art is superior. Why? Because he is fighting against something. Before the communist revolution, he was left to do whatever he wanted. After it, his work would cost him something. Experimentation was over, and he produced work that I believe sticks with the viewer much longer than what he created earlier. If you are wondering what I am talking about, check out some of his early work: Red Square, Black Circle, and Supremacist Composition. Compare these to An Englishman in Moscow, Spotrsmeny, and Female Torso.
You are certainly able to make your own decisions about what you like better, but I think is later stuff is more interesting.
Here are a couple videos that talk about him and show more of his work.