New York

Frank Gerritz

Stark Gallery

As the work of Frank Gerritz suggests, it is time to recognize the occult character of geometrical abstraction: to view it as a transition to Constructivism, as stylistic positivism does, is as misleading as to regard it as a symbol of sociopolitical revolution. The “desert” experience Kasimir Malevich claimed his Suprematist square affords is a mystical one. Malevich’s abstract geometry is an intellectually and emotionally accessible yet nonimagistic personification of the absolute, and the luminous field the “alternative,” heavenly space of transcendence in which it exists.

The paradoxical, mystical relationship of geometrical figure and luminous field—they occupy the same plane but are differentiated enough to seem separate—is emblematic of the viewer’s relationship to the absolute. Through its psychoesthetics, the icon evokes the feeling of being in such a relationship. We identify with

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