Čeprav je Ad Reinhardt kot izhodišče
za svoje abstraktno slikarstvo izpostavljal
bolj Mondriana kot Maleviča,
je podobnost Reinhardtovih »črnih«
slik z Malevičevim Črnim kvadratom
na belem polju očitna. Podobnost
ne zgolj po formalni plati, v liku kvadrata
črne barve, temveč tudi v obilju
misli, ki spremljajo ter dopolnjujejo
Reinhardtove in Malevičeve slike,
v obilju besednega pojasnjevanja,
upravičevanja dejanja izničevanja
in izničenja, ki ga črni kvadrat zastopa
oziroma opravlja pri enem in pri
drugem. Kaj pomenita torej Malevičev
poziv k »brezpredmetnosti«, k premagovanju
narave (sveta, kot ga poznamo)
z umetnostjo, ter Reinhardtovo
priseganje na avtonomijo umetnosti,
negiranje, izganjanje narave in sveta
iz umetnosti, priseganje na njeno
»brezsvetnostnost«? The similarity between Ad Reinhardt’s
»black« paintings and Malevich’s
Black square on a white field
is plain, even though Reinhardt
considered Mondrian rather than
Malevich the key reference for his
abstract painting. Similarity surpasses
mere form, a shape of a square
of black colour, for it also exists in the
abundance of verbal explanation,
justification of the act of nullifying
and of negation, which is represented
or performed by a black square in Malevich’s
and Reinhardt’s art respectively.
What does, then, Malevich’s appeal
to »nonobjectivity«, to overcoming
of the nature (the world as we know
it) with art on the one hand, and
Reinhardt’s swearing on the autonomy
of art, on the exorcising the nature
and the world from art, the swearing
on the art’s »wordlilessness«, on the
other hand, mean?
