{"id":7812,"date":"2019-01-26T05:50:52","date_gmt":"2019-01-26T10:50:52","guid":{"rendered":"http:\/\/kolajmagazine.com\/content\/?p=7812"},"modified":"2019-01-26T06:00:43","modified_gmt":"2019-01-26T11:00:43","slug":"say-something","status":"publish","type":"post","link":"http:\/\/kolajmagazine.com\/content\/content\/articles\/say-something\/","title":{"rendered":"Say Something"},"content":{"rendered":"

\"\"
\nFROM KOLAJ #24<\/p>\n

Editorial by Ric Kasini Kadour<\/h2>\n

In his editorial in Kolaj<\/em> #24, Ric Kasini Kadour reflects on the historical importance of Kazimir Malevich’s The Black Square<\/em> and how the artist, in presenting this painting, declared that his art would not be a tool for God or country. Kadour writes, “Malevich asserted that artists must be free to make whatever, to operate in a free zone of thinking. This was a radical idea at a time when art had for centuries been a tool of the state, the church, and the elite…This was not a bad thing. Over the course of a century, art went from a restricted, governed thing to\u2026anything goes…Something got lost along the way.” You can read the full essay on Kadour’s website<\/a>.<\/p>\n

\"\"<\/p>\n

“I challenge you, find your voice, find the biggest, boldest idea that you can, and make work that speaks it.”<\/em><\/h2>\n

“Say Something” appears in Kolaj<\/em> #24. Our goal with every issue is that Kolaj Magazine<\/em> is essential reading for anyone interested in the role of contemporary collage in art, culture, and society. Visit the website<\/a> to subscribe<\/a> or get a copy<\/a>.<\/p>\n

Image:<\/strong>
\nSuprematist Composition: Supremus No. 55<\/em>
\nby Kazimir Malevich
\noil on canvas
\n1916<\/p>\n","protected":false},"excerpt":{"rendered":"

FROM KOLAJ #24 Editorial by Ric Kasini Kadour In his editorial in Kolaj #24, Ric Kasini Kadour reflects on the historical importance of Kazimir Malevich’s The Black Square and how the artist, in presenting this painting, declared that his art…<\/p>\n

Read more →<\/a><\/p>\n","protected":false},"author":6,"featured_media":7814,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"gallery","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","footnotes":""},"categories":[6,27],"tags":[],"jetpack_featured_media_url":"http:\/\/kolajmagazine.com\/content\/wp-content\/uploads\/Supremus_55_by-Malevich.jpg","jetpack_shortlink":"https:\/\/wp.me\/p2QTD7-220","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":6446,"url":"http:\/\/kolajmagazine.com\/content\/content\/articles\/the-golden-age-of-collage\/","url_meta":{"origin":7812,"position":0},"title":"The Golden Age of Collage","author":"Christopher Byrne","date":"4 December 2017","format":"gallery","excerpt":"FROM KOLAJ 21 Editorial In Kolaj #21, Editor Ric Kasini Kadour was inspired by an exchange on social media to make an argument for when the Golden Age of Collage was. I recently got into an exchange on Facebook with two brilliant collage artists, Scott Neff and Allan Bealy. Neff\u2026","rel":"","context":"In "Articles"","block_context":{"text":"Articles","link":"http:\/\/kolajmagazine.com\/content\/category\/content\/articles\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Discovery-of-the-Water-Lillies.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Discovery-of-the-Water-Lillies.jpg?resize=350%2C200 1x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Discovery-of-the-Water-Lillies.jpg?resize=525%2C300 1.5x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Discovery-of-the-Water-Lillies.jpg?resize=700%2C400 2x"},"classes":[]},{"id":7389,"url":"http:\/\/kolajmagazine.com\/content\/content\/articles\/lucky-beads\/","url_meta":{"origin":7812,"position":1},"title":"Lucky Beads","author":"Christopher Byrne","date":"18 September 2018","format":"gallery","excerpt":"What a New Orleans Legend Teaches Us About Artists In the editorial in Kolaj #23, Ric Kasini Kadour tells the story of The Bead Lady of New Orleans and considers what lessons her story has for artists. He writes, \"Street people and artists are two archetypes that society imbues with\u2026","rel":"","context":"In "Articles"","block_context":{"text":"Articles","link":"http:\/\/kolajmagazine.com\/content\/category\/content\/articles\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Bead-Work.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Bead-Work.jpg?resize=350%2C200 1x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Bead-Work.jpg?resize=525%2C300 1.5x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Bead-Work.jpg?resize=700%2C400 2x"},"classes":[]},{"id":42,"url":"http:\/\/kolajmagazine.com\/content\/contributors\/ric-kasini-kadour\/","url_meta":{"origin":7812,"position":2},"title":"Ric Kasini Kadour","author":"kasini","date":"28 September 2011","format":false,"excerpt":"Ric Kasini Kadour has contributed writing for a number of books and catalogs. 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