Celebrating "Lazar Khidekel and Suprematism" - at Christie's
Exhibit Venue:
Christie’s20 Rockefeller Plaza
New York City
Exhibit Date:
May 18, 2015
Dear Friends of the Lazar Khidekel Society,
Christie’s celebration of the book Lazar Khidekel and Suprematism (Prestel) on May 18 was a memorable and inspiring experience featuring informative presentations and an exhibition of Lazar Khidekel’s work.
Our sincere gratitude goes to Izabela Grocholski and Alexis Tiesenhausen of Christie’s, to Dr. Maria Kokkori of the Chicago Art Institute who spoke on behalf of the New York Malevich Society, to Prestel Publishing Inc. and Nellie Gipson for their support, and to all our esteemed guests — the museum curators, art professionals, and collectors who attended this wonderful celebration.
Our next event — a cocktail reception to celebrate the publication of Lazar Khidekel and Suprematism (Prestel) will take place at the Grimaldi Forum in Monaco in mid-July. You can RSVP at Khidekelsociety@aol.com.
Please come and celebrate with us!
Lazar Khidekel and Suprematism continues to receive praise: it has been selected for a review and recommendation by CHOICE — a magazine that goes out to more than 22,000 academic librarians and faculty, reaching almost every college and university in the United States. And in a recent, glowing review Lazar Khidekel’s Suprematist works are called “a key link in the story of abstraction.” The following is an excerpt:
Lazar Khidekel & Suprematism (Regina Khidekel / Prestel)
By Bryony Byrne
An architect and an artist, Lazar Khidekel trained under Marc Chagall, and at the age of only 15 exhibited alongside other modern art luminaries including Wassily Kandinsky and Kazimir Malevich and went on to become an important member of the Russian avant-garde. This book is the first dedicated to his work and explores the importance of Suprematism in his oeuvre.
It is a fantastic introduction to an often-overlooked artist and spans the decades of his long career, moving through the different phases of his work. A stunning collection of paintings, drawings and photographs, the book reveals insight into Khidekel’s early and prodigious experiments with abstraction in both art and architecture. A series of interesting essays also traces Khidekel’s interactions with Malevich and the development of the Suprematist movement.
Coinciding with a renewed interest in Russian abstract art, this book is a brilliant exploration of a talented and significant artist and provides a detailed and beautiful showcase of Suprematist work. A key link in the story of abstraction.
