LA CONTEMPORANEIDAD COMPARTIDA Planteamientos Formales Y De Contenido En Tres Trayectorias Prominentes KasimirMalevichGerhardRichterLarryPoons

Kasimir Malevich_ en resumenNaci cerca de Kiev en Ucrania .23 de febrero, 1879

Muri en Leningrado, Rusia.15 de mayo, 1935(56)

Trayectoria del artista 1890 1935 (45)

Su carrera coincide con la Revolucin Bolchevique de 1917 y con su desenlace social y cultural.

Su mayor contribucin en la evolucin del arte moderno consiste en establecer que las formas geomtricas bsicas, abstractas por definicin, pueden ser constituyentes independientes y significativamente vlidas en la composicin pictrica.

Kasimir Malevich_ en resumenComienza desde los doce aos y por cuenta propia su inters en el dibujo. Se educ en las tcnicas impresionistas y post-impresionistas. Influencias del simbolismo y el art noveau tambin son significativas en sus primeras obras.Se familiariz con artistas como Kandisky, Burlyuk y Larionov. Particip de la exhibicin colectiva titulada Jack of Diamonds y junto con el grupo llamado Donkeys Tail enfoc su atencin en las filosofas Primitivistas, Cubistas y Futuristas. Aunque el tema recurrente en sus obras en este perodo se basaba en escenas de la vida campesina e inclua influencia de Czanne y los Fauvistas sus trabajos tenan una interpretacin independiente: las figuras en sus trabajos de arte estaban construidas por formas cnicas y cilndricas saturadas de colores primarios. Malevich adopt este sistema de composicin de la tradicin de pintura icnica Bizantina y Rusa.Con la combinacin de elementos esenciales del cubismo sinttico y el futurismo italiano trabaj un estilo que tuvo como resultado una dinmica deconstruccin geomtrica de figuras en el espacio. Llegando eventualmente al Suprematismo.

Kasimir Malevich_ ideas clavePara el ao 1915 abandona el elemento figurativo en su pintura hacia la exploracin de formas geomtricas puras (cuadrados, tringulos y crculos) y su relacin entre ellos dentro del espacio pictrico libre de cualquier referencia iconogrfica.Llamando al nuevo arte Suprematismo reclamaba literalmente un esfuerzo supremo que se eleva por encima del significado tradicional y la compresin racional de las formas pictricas.Su filosofa estaba puramente interesada en las emociones y no en un razonamiento lgico. La base conceptual de su teora aparece en su publicacin titulada Del Cubismo y Futurismo hacia el Suprematismo. La distribucin pblica del texto coincidi con la exhibicin, por primera vez, de el ahora famoso e icnico Cuadrado Negro (1915).

Kasimir Malevich_ ideas claveLuego realiz las obras Crculo Negro y Cruz Negra. Malevich describa estas pinturas como conos nuevos o imgenes sagradas para la esttica nueva del arte abstracto. La serie negra fue seguida por pinturas de Blanco sobre Blanco con las cuales exploraba la relacin entre formas puras hacia espacios despejados, sin el contraste extremo del blanco y el negro.Revolucin Bolchevique: Inicialmente se integr y promovi su filosofa en el proceso revolucionario.Durante este perodo se desempe como acadmico y director en varios centros de eseanza. Logr exportar sus ideas hacia occidente (Polonia y Alemania).Para los aos treinta el panorama poltico no le favoreci y le fue negada su participacin tanto en la enseanza como en exhibiciones. Siendo considerado su arte como degenerado y anti-soviet.

Kasimir Malevich_ citasPara el suprematista el fenmeno visual del mundo objetivo no tiene, en s mismo, importancia; lo importante es el sentimiento, tanto que se distancia del entorno al cual pertenece.El Naturalismo acadmico, el naturalismo de los Impresionistas, el cezaneismo, el cubismo etc., todo esto de alguna manera son nada ms que mtodos dialcticos los cuales, como tal, de ninguna manera determinan la importancia genuina de una obra de arte.El Suprematismo es el redescubrimiento del arte puro, el cual con el transcurso de el tiempo, se ha obscurecido por la acumulacin de cosas.El cuadrado negro sobre el campo blanco fue la primera forma por la que la emocin no figurativa fue expresada. El cuadrado igual a la emocin, el campo blanco igual al vacio ms all de la emocin.

Kasimir Malevich_ obras Title: The ReaperDescription: In The Reaper Malevich explored the human figure through a pictorial vocabulary reminiscent of Fernand Lger. The body and the dress of the peasant are rendered in conical and cylindrical forms adopted by Malevich from the Cubist school. The vibrant palette of the painting is unabashedly Futuristic, indicating Malevich's exposure to the dominating artistic styles of his time. The peasant theme is reinterpreted from the traditional folk motif, known as Lubok, which was in vogue with the Russian avant-garde milieu. While still clearly figurative, this composition anticipates the move toward abstraction by the employment of abbreviated and stylized forms.Year: 1912-1913Materials: Oil on canvas Collection: The Fine Arts Museum, Nizhnij Novgorod, Russia.

Kasimir Malevich_ obras Title: Woman With Pails: Dynamic ArrangementDescription: In this composition Malevich moved decisively toward abstraction by dissecting the figure and picture plane into a variety of interlocking geometric shapes. The figure is still identifiable, as are the pails that she carries; Malevich has not yet abandoned representation entirely. The general palette is comprised of cool colors dominated by blues and grays, though the accents of red, yellow, and ochre add to the visual dynamic of the composition. The few identifiably figurative elements, such as the figure's hand, seem to be lost inside the whirlpool of completely abstracted forms that structure the canvas. Year:1912-1913Materials: Oil on canvas Collection: The Museum of Modern Art, New York

Kasimir Malevich_ obras Title: Black SquareDescrition: The iconic Black Square was shown by Malevich in the 0.10 exhibition in Petrograd in 1915. This piece epitomized the theoretical principles of Suprematism developed by Malevich in From Cubism and Futurism to Suprematism: The New Realism in Painting. The purely abstract shape of the square is the single pictorial element in the composition. According to Malevich, the perception of such forms should always be free of logic and reason, for the absolute truth can only be realized through pure feeling. Black Square was to become the new holy image for non-representational art. Even at the exhibition it was hung in the corner where an Orthodox icon would be traditionally placed.Year: 1915Materials: Oil on canvasCollection: The Russian Museum, Saint Petersburg, Russia.

Kasimir Malevich_ obras Title: Airplane FlyingDescription: In Airplane Flying Malevich further explored the pictorial potential of pure abstraction. The rectangular and cubic shapes are arranged in a solid, archtectonic composition. The yellow contrasts starkly with the black, while the red and blue lines add dynamic visual accents to the canvas. The whiteness of the background remains unobtrusive to the interplay of shapes. Malevich believed that emotional engagement is required from the viewer in order to appreciate the composition, which constituted one of the key principles of his theory of Suprematism. Year: 1915Materials: Oil on CanvasCollection: The Museum of Modern Art, New York.

Kasimir Malevich_ obras Title: White on WhiteDescription: In the White on White series, Malevich took his experiments with abstraction to a previously unexplored level. By minimizing coloristic effects, the artist put additional emphasis on abstract geometric formation and compositional structure. The slight change in tonality, however, distinguishes the abstract shape from the background of the canvas, and encourages close viewing. Once again, the artist is striving to portray the absolute by eliminating any unnecessary details that may hinder true feeling. Year: 1918, Materials: Oil on canvasCollection: The Museum of Modern Art, New York.

Kasimir Malevich_ obras Title: Complex Presentiment: Half-Figure in a Yellow ShirtDescription: In the late years of his life Malevich returned to exploring motifs prominent in his early work. This late painting could be compared to The Reaper (c.1912). The earlier example was obviously based on borrowed pictorial techniques (Fernand Lger, Pablo Picasso). In the later example, however, it is clear that Malevich has arrived at his own unique style. The primary colors are luminously juxtaposed and are reminiscent of Suprematist rectangles and cubes floating on the canvas surface. The figure is constructed from cylindrical shapes, abstracted and abbreviated, yet clearly indicating body parts. By returning to an old subject at a time of oppression from the Soviet state, Malevich seems to be nostalgic for an earlier time when his career was on the rise. Year: 1928-1932Materials: Oil on canvasCollection: The Russian Museum, Saint-Petersburg, Russia.

Gerhard Richter_ en resumenNaci cerca de Dresde, Alemania .9 de febrero, 1932

Vive al presente Colonia, Alemania 15 de febrero, 2012(80)

Trayectoria del artista 1951 2012 (61)

Naci durante la poca de dominio del Partido Nacionalsocialista Obrero Alemn. Vivi el desenlace de la Segunda Guerra Mundial y la divisin de Alemania entre este y oeste . Ha producido simultneamente pinturas abstractas y fotorealistas como tambin fotografa y piezas en cristal erosionando as el concepto del artista obligado a mantener un estilo individual coherente.

Gerhard Richter_ en resumenEs un pintor alemn que en su inicio se entren en un estilo realista y posteriormente desarroll inters por los trabajos ms progresivos de sus pares contemporneos americanos y europeos.En su pintura ha explorado continuamente como las imgenes que aparentan capturar la verdad a menudo prueban , en una mirada amplia , que son mucho menos objetivas o con un significado inseguro, que como originalmente se asumi.El otro tema comn en su trabajo es el de la casualidad o lo espontneo y su juego entre lo realista y lo abstracto.Su trabajo se ha desarrollado paralelo a las ltimas tendencias en el arte del siglo XX tales como el Expresionismo abstracto, ArtePop, Minimalismo, Conceptualismo pero sin abrazar a ninguna de ellas. Absorbiendo muchas de sus ideas mientras se mantiene exptico a cualquier postura artstica y filosfica.

Gerhard Richter_ ideas clavesRichter ha conservado una fascinacin sobre el poder de las imgenes y sobre la larga y recelosa relacin entre la pintura y la fotografa: mientras cada medio reclama reflejar o expresar fielmente la realidad, en ltima instancia cada uno slo pueden sugerir una visin parcial o incompleta de un tema. Richter toma prestada la imaginera de su pintura de los peridicos o hasta de su propio albm familiar. A menudo comienza por mecnicamente proyectar una de esas imgenes al lienzo, con esta tcnica nos hace pensar acerca de como las imgenes frecuentemente parecen tener vida propia. Este acto de comprensin visual, en donde la fotografa, la proyeccin y la pintura se fusionan para completar una obra de arte, sugiere que toda visin es un tipo de conversin entre lo real hacia lo imaginario.Richter frecuentemente nubla sus temas y adopta en su proceso de pintar la casualidad. Con el propsito para demostrar la imposibilidad de cualquier artista para transmitir la verdad completa de un tema en su condicin original. Tales recursos dan a entender entonces que algo esencial para el modelo se ha perdido en la traduccin guiando a menudo al espectador hacia la naturaleza del intenso pigmento aceitoso, por lo tanto demostrando ambas expresiones, las fortalezas y las deficiencias.

Gerhard Richter_ ideas clavesEn las pinturas totalmente abstractas de Richter, estn ausentes cualquier rastro autobiogrfico as como tambin sus emociones personales. En su pintura las numerosas capas, trazos y raspes de color llegan a considerarse tan bellas, como cualquier cosa encontrada en la naturaleza que existe conforme a una estructura predeterminada, (como lo es el DNA), as tambin por la via de momentos impredecibles de pura casualidad y por la accin de fuerzas externas.En un momento donde la muerte de la pintura era la proclama en ascenso entre una nueva generacin ms interesada en el potencial del arte conceptual que en dominar longevas tradiciones artesanales. Richter demostr que el medio de la pintura todava puede vigorosamente cuestionar toda imagen por su verdadero potencial, sin importar que su origen sea en los medios noticiosos, el cinema, el Internet, el omnipresente dominio de la publicidad comercial o inclusive del albm fotogrfico familiar.Tambin le ha dado nuevo vigor a la idea de que desear belleza en un trabajo propio es una ambicin perfectamente aceptable. Particularmente en el tiempo donde muchos de su generacin presumen que cualquier deseo por placer esttico es algo de que avergonzarse o ciertamente aplicado solo en la distancia y presumiblemente a gente menos sofisticada en la historia.

Gerhard Richter_ citasLa fotografa alter la manera de ver y pensar. Las fotografas fueron consideradas como reales mientras que las pinturas como artificiales. La imagen pintada ya no era creble; su representacin congelada a la inmobilidad, por que ya no era autntica sino inventada.Lo que intento hacer en cada una de las imagnes no es otra cosa ms que unir de una manera viva y viable, los elementos ms contradictorios y diferentes con la mayor libertad posible.Deseo dejar todas las cosas como son. Por consiguiente yo ni planifico ni invento; Yo no aado nada ni omito nada. De igual manera s que inevitablemente planificar, inventar, har y manipular. Pero eso no lo s. Todava estoy muy convencido que la pintura es una de la ms bsicas capacidades humanas, igual que bailar y cantar.

Gerhard Richter_ obrasTitle: Mund(Mouth)(Brigitte Bardot's Lips)Description: Mund is one of Richter's first paintingscompleted from a photograph. The painting is sexually suggestive, depicting Brigitte Bardot's open mouth adorned with red lipstick. Blurred flesh tones hint at Richter's painting process, beginning with a realist rendering and incorporating rollers, squeegees, and dry brush techniques to mask the surface. The work suggests the artist viewing reality from a detached perspective, as he resists any moment of clear focus on the overall image. Year: 1963 Materials: Oil on canvas Collection: Private collection

Gerhard Richter_ obrasTitle: Farbschlieren (Colour Streaks) Description: In this example of one of his early greypaintings, Richter allows structure and color tocompose the "picture." The painting is void offiguration and recognizable imagery, revealingRichter's indifference toward any "model" as servingas his subject matter. Richter employs thickbrushstrokes and monochromatic color, thussweeping across the canvas in a fluid, entirely fusedmotion. This powerful gesture suggests aconsideration of how abstract forms may well serveas a painter's subject just as effectively, for theirvisual or optical interest, as any photographic or"realistic" scene derived from nature, or the"everyday world" around us. Year: 1968 Materials: Oil on canvas

Gerhard Richter_ obrasTitle: 1024 Farben(1024 Colours) Description: Richter employs a systematic approachto the canvas in his color-chart-based painting 1024 Farben (1024 Colours). Superficially reminiscent of the neo-Dadaist, 1950s "Hard Edge" abstraction of Ellsworth Kelly, Richter chooses here to systematically paint squares of colors based on the predetermined structure of the color wheel. The only intervention of the artist in an otherwise mechanical process seems to be his control of the scale of the canvas itself, the artist's having arranged the color combinations via reference to an apparently logical, Predetermined schema. Year: 1973 Materials: Enamel on canvas Collection: Daros Collection, Zurich, Switzerland

Gerhard Richter_ obrasTitle: Abstraktes Bild(Abstract Painting) Description: In 1976, Richter first employed the term"Abstract Painting" as a formal title for many of hisworks, such as this example. Cool tones of purpleand blue create a hazy, shallow atmosphericperspective. The composition is structured withgeometric shapes and lines that might at first appearas fractured icebergs emerging from the paintedsurface, only to settle down, as it were, into pureabstraction. Richter did not want to offer a definitiveexplanation for his abstract work, stating only that hewas "letting a thing come, rather than creating it.Standing in relation to such work, a viewer begins toquestion whether what he/she perceives is fact orfiction, the real or the artificial, as though slowlybeing trained in a new school of visual philosophy. Year: 1976 Materials: Oil on canvasCollection:

Gerhard Richter_ obrasTitle: Clouds Description: Clouds is an example of how Richterfrequently alternates between realist and abstractstyles in various series of work, as well as on a singlecanvas. In this instance, even the title bears anambiguous relation to the entire composition. In thelower region of the canvas, for instance, Richtersuggests that the viewer is having a perceptualexperience of looking through a window;nevertheless, the bold tracks, scrapes, smudges, andlayerings of paint above playfully cancel that opticalillusion. Thus Richter is frequently fascinated by howa viewer's desire to extract "meaning" from a givenwork of art often proves utterly futile. He suggeststhat we might instead relish a simple experience ofvisual pleasure, or the discovery of "beauty" by wayof studying abstract forms for their own sake. Year: 1982 Materials: Oil on canvas (two panels) Collection: Museum of Modern Art

Gerhard Richter_ obrasTitle: Erschossener 1 (Man Shot Down 1) Description: For most of his career, Richter avoidedpolitical motifs in his work. A notable exception is theseries October 18, 1977, in which he depicts radicalBaader-Meinhof terrorists who inexplicably died injail (it remains unclear to this day whether theseyoung radicals committed suicide or were murderedby the police). In Erschossener 1 (Man Shot Down 1),Richter has used a photographic reference to createa blurred, monochromatic painting of a dead inmate.The morbid scene might be said to exemplify thevanity behind the terrorists' actions; at the sametime, the persistent obscurity of the image replicatesthe eternal mystery behind the inmates' deaths, aswell as the impossibility of securely capturing truthin any one canvas. Year: 1988 Materials: Oil on canvas Collection: The Museum of Modern Art

Gerhard Richter_ obrasTitle: Moritz (2000) Description: Ostensibly a painting of his young son,Mortiz exemplifies Richter's affinity for striking atense balance between abstraction and figuration.This painting is a hybrid, seemingly fluctuatingbetween two contrasting, unfinished areas, onesection realistically rendered (in part harking back toRichter's Social Realist education), the other fadingoff into ethereal "white noise." Mortiz is reminiscentof Andy Warhol's combination of appropriatedimagery and painted silkscreen techniques; a hazyglow seemingly emanates from the young boy, thusproviding a powerful contrast to the material realityof the painted surface. Year: 2000 Materials: Oil on canvas Collection: De Pont Museum voor hedendaagsekunst, Tilburg, The Netherlands

Gerhard Richter_ obrasTitle: Abstraktes Bild (Abstract Picture) Description: In a series of completely abstract worksof the early 1990s, Richter challenges the eye of theviewer to detect anything in the field of vision otherthan the pure elements of his art: color, gesture, thelayering of pasty materials, and the artist'simpersonal raking of these concoctions in variousways that allow chance combinations to emergefrom the surface. Richter suggests only a shallowspace akin to that of a mirror. The viewer is finallycoaxed to set aside all searches for "content" thatmight originate from outside these narrowparameters and find satisfaction in the object'sbeauty in and of itself, as though one were relishinga fine textile. One thus appreciates the numerouscolors and transitions that occur in this painting,many having been created outside the completecontrol of the artist much as nature often createswondrous optical pleasures partly by design, andpartly by accident. Year: 1994 Materials: Oil on canvas Collection: Tate, London and National Galleries ofScotland, Edinburgh

Larry Poons_ en resumenNaci en Tokio, Japn.1 de octubre, 1937

Vive en Nueva York, E.U.20 de febrero, 2012(75)

Trayectoria del artista 1959 2012 (53)

Adquiri prestigio en los aos 1960 con pinturas de crculos y valos sobre fondos slidos y frecuentemente de colores brillantes. Estas pinturas transmiten una sensacin de movimiento y fueron catalogadas como Arte Optico.

Larry Poons_ en resumenPintor estadounidense, se interesa primero por la msica. Luego estudia pintura en la Boston Museum SchoolTuvo su primera exposicin individual en 1963 a la edad de 26 aos en la Green Gallery de Richard Bellamy en Nueva York. En este perodo se le asocia a la escuela de Color field paintingSus pinturas de puntos geomtricos fueron reconocidas por el MoMA en 1965 en su exhibicin de Arte Op, The Responsive eye. Aqu se le ubica por un breve perodo.En el 1967 exhibi en la galera Leo Castelli junto a Dan Flavin, Andy Warhol y Roy Lichtenstein.A finales de los aos sesenta, pierde inters en los puntos. Cambi los aspectos pticos y cientficos de su trabajo por una direccin ms potica. El color, ms ustero y diludo, le hace ganar en profundidad y en efectos atmsfericos, lo que afirma su inters por la experiencia visual del color.Se le considera famoso por haber sido famoso joven. Actualmente ensea en Art Students League, Nueva York.

Larry Poons_ ideas clavesLa obra de Poons es una pendiente de revisin. Condenado al olvido por un sector de la crtica que desde muy joven le haba encumbrado, Poons ha avanzado en solitario, silenciosamente, durante tres dcadas. Su obra es, ante todo, una pintura contundente, de extraordinario impacto visual, acentuada por el gigantesco formato de algunas de las obras.Se le ubica por un breve periodo en el Arte Op, en razn de los efectos pticos producidos por sus obras: pequeos puntos circulares y ovoidales, repartidos sobre toda la superficie de una tela, a menudo monocroma, de acuerdo a un orden difcil de adivinar y que destacan violentamente sobre el fondo, mientras parecen agitarse, dejando una imagen persistente en la retina.Luego abandona estos violentos contrastes as como la ntidez de los contornos, y sus puntos se agrandan o bien se vuelven ms vagos- como paramecios vistos en un microscopio- interesndose por los efectos atmosfricos de un color ms resbaladizo y diludo.

Larry Poons_ ideas clavesActualmente presenta en sus obras ms recientes una amalgama de color, ya sea en capas planas, drippings o rotundos empastes. Tambin incorpora elementos ajenos a la pintura creando lneas y grafismos de gesto enrgico.Proyecta la pintura sobre el lienzo vertical para controlar sus deslizamientos y acumulaciones, pegando sobre el soporte materiales diversos que multiplican los accidentes superficiales: as el color que cae produce, paradjicamente, superficies en suspenso.

Larry Poons_ citasLa pintura es color, y el color es luz la luz manipula al pintor.

Larry Poons_ obrasTitle: Untitled #1Description: 40 x 40 inches Signed, dated, and inscribed verso: "Larry Poons / December 1960 / #1Year: 1960Materials: Oil on canvasCollection:

Larry Poons_ obrasTitle: Sunnyside Switch Description: Larry Poons painted thedeceptively ingenious and visually afferent SunnysideSwitch in 1963. By introducing an illusion ofmovement, Poons reconsiders the tradition ofcolorfield painting, one of the dominant styles inAmerican art since the mid 1940s. Thus, Poons workis an early example of Op Art.Sunnyside Switch is a clear example of awork that uses both color and patterns to play withhuman perception and produce the illusion ofmovement within a painting.Year: 1963Materials:Collection:

Larry Poons_ obrasTitle: Orange CrushDescription: The painting is spotted all over forimpact. In Op Art paintings, artists often put colorsnext to each other in order to make the eyes of theviewer jump around, from one color to the next. Itmade the painting look like it was vibrating. Op Artartists invented all sorts of tricks for the eye...wavylines, cris cross patterns, bright colors. Their goal wasto make a design that felt like it was moving andshifting all the time.Year: 1963Materials:Collection:

Larry Poons_ obrasTitle: English fieldsDescription: Size 110.4 x 87 in. / 280.5 x 221 cmSale OfSotheby's New York: Wednesday, May 9, 1990[Lot 201]CONTEMPORARY ART, PART II Estimate150,000 - 200,000 USD Year: 1968Materials: Acrylic on Canvas Collection:

Larry Poons_ obrasTitle: WisemanDescription: 108 x 61 inchesIn the early 1970s, Poons began experimenting withvarious techniques including the pouring andthrowing of paint.Year: 1975Materials: Acrylic on canvasCollection:

Larry Poons_ obrasTitle: The What Sonata,Description: 87 x 118 inches Year: 1989Materials: Acrylic on canvasCollection:

Larry Poons_ obrasTitle: Could You Love me One More Time Description: In his new body of work, Mr. Poonsseems to enjoy some measure of equilibrium. Thereis thickly churned swirls of paint, but there is also anew-found lyricism that recalls the seductive charmof his early flat abstraction. The title of one of theworks, Could You Love Me One More Time, (2005)almost seems an appeal to early formalistenthusiasts to forgive the romantic excesses of theintervening years.The palette and brushstroke are consistent throughthis exhibition of generally large, busycanvases. There is an underlying range of organichues browns and greens accentuated bygenerous dolops of contrastive pink and blue. 68 x 68-1/2 inchesYear: 2005Materials: Acrylic on canvasCollection:

Larry Poons_ obrasTitle: Calling YouDescription: Poon's latest show is rooted in thetradition of Abstract Expressionism . The works areall large, all-over, tactile, almost scultped, and bestviewed from that sweet spot where the painting justfills your field of view. Stand there and the world of the painter opens up to you. It's a world, in this case,filled with tentative marks, mostly right-handed dabsand strokes, mostly low chroma, fleshy colors. The texture varies from mere stains on the canvas all the way up to thick oozing strokes, from grainy crumbles of nearly pure pigment to gluey translucent strandsof almost pure acrylic gel. Every so often Larry dipsinto the brighter hues, whipping out a pink close tofluorescence or a deep sapphire blue.67.25x114 inchesYear: 2009Materials: Acrylic on canvasCollection:

LA CONTEMPORANEIDAD COMPARTIDA Planteamientos Formales Y De Contenido En Tres Trayectorias Prominentes Everything in the current world of art and design seems to want to be what is not, or at least not what it used to be. Glen GordonEl presente trabajo investigativo resea brevemente la trayectoria de tres prominentes artistas contemporneos: el ruso KasimirMalevich, el alemn Gerhard Richter y el estadounidense Larry Poons. Partiendo desde Malevich hasta continuar con Richter yPoons, el perodo de tiempo comprendido, entre los tres, se extiende desde finales del siglo XIX, atravesando el siglo XX, hastanuestro recin estrenado siglo XXI . An viviendo en momentos y circunstancias distintas todos ellos ofrecen planteamientose ideas vigentes en la actualidad.