Abstract
The political nature of abstraction presented from an artist’s point of view – one who considers the most advanced task is the exploration of the language of pictures. Such exploration is understood as a separate discipline from the many others that employ pictures for practical functions. The author examines the development of 20th century abstraction as an effect of revolutionary social motion. Historic steps to abstraction, taking shape as rising and receding artistic movements, are correlated to revolutionary motion. The materialist underpinning of abstraction is distinguished from the idealism of Post-Modernism. The paper ends with an examination of contemporary discourse in the Western art world that attempts to erase the internationalism of abstraction and, thereby, marginalize non-Western practitioners.
Highlights
An important parameter that guides my thinking on painting is to define paintings as a subset of all pictures, which are visual images on a flat surface distinct from mixed media installation
In the following paragraphs abstraction will be positioned as the most advanced exploration in picture making, today mostly done as pigments on a ground that is as painting, and that what sparked and fed this advance was working class motion such as the Paris Commune, the struggle for the eight-hour day, the Soviet revolution
The aesthetics of abstraction are present in daily life but most people practice it without having a name for it
Summary
An important parameter that guides my thinking on painting is to define paintings as a subset of all pictures, which are visual images on a flat surface distinct from mixed media installation. Historic steps to abstraction, taking shape as rising and receding artistic movements, are correlated to revolutionary motion.
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