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Star Wars is a renowned film series made by George Lucas. LEGO truly consider the kid-friendly aspect likewise and the LEGO watch isn't any various. Vader is amongst the only couple of characters who don't play as a soldier. Vader is believed to be a container as well as is quite resistant to damages. As a result of his previous status for a servant, Vader likewise had distress as quickly as the idea of enslavement was brought up. Darth Vader is a superb circumstances of this. Darth Vader's lightsaber can be hung on a clip to the rear of the auto.

Now it appears like a typical explosive, but it's just triggered when you desire to, as a result it can conveniently be used as a catch. You can produce a fee shot that is a 1 hit kill, that comes at the cost of the range attribute. Because you can see in the photo over the torso building and construction is extremely intricate, although I don't desire to spoil a number of the unusual and excellent techniques. When you find out who or what you want to draw, discover an image that will certainly help you cinch those finer information.

C-3PO's personality is moved from a regular protocol android a lot like thousands of others made by the similar firm to a remarkable one-of-a-kind android made by a substantial gamer in stellar occasions. Despite that propensity, nevertheless, these personalities have not ever had it very easy. Normally, when the Star Wars characters are confronted with towering unpredictabilities, they decide to act.

From the exhibitions opening minutes when you're fitted with a mike receiver, made to supply you with an individual sound overview which will organize you throughout the occasion, you understand that you're in for an incredibly various immersive experience, one unlike any kind of various other you have actually visited before. Some individuals are wish to get LEGO Star Wars Darth Vader Clock on the affordable price. As stated formerly, it's additionally waterproof so if your little one goes swimming they have the ability to keep their watch on.

The application will certainly continue to evolve together with the franchise business, and also individuals can prepare for regular updates and also new capabilities. Some versions are released with unique devices. The most recent version of Darth Vader's craft is a little bit larger than its precursors.

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Within the box, a little cardboard sleeve attached to the box comprises the guideline pamphlet, securing it from more damage past the plastic sleeve that guidelines for bigger collections currently arrive in. The blade is a bit a lot more rubbery yet carries out light extremely well, so you are able to make it look as though it's radiant in the correct troubles. The arms and legs are somewhat more normal of Building collections, made up of a skeletal frame that is after that covered with a variety of panels. Either side of the base has tiny locations with different play functions. The hollow base provides impressive assistance to the design, ensuring that it might be walked around easily. If you get on the top of that listing, you're a lousy person.

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If you're as large of a motion picture nerd like I am, you might have heard of the term Easter egg with regard to movies. The structure experience is a really large portion of the complete experience of a LEGO collection, and it gets a great offer much more enjoyable, along with much easier for kids when not all blocks have exactly the very same colour. Perhaps the most significant variance from the mainstream Star Wars franchise business present in the movie is the fact that it follows a distinctive and never-before-told tale.

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Throughout the treatment, the motion picture is great. This standard motion picture is the previous movie in the collection. The personalities within this story were following Lego direction sheets like they were scripture as well as, normally, they are completely fine as well as really satisfied keeping that vocal singing specifically the same song Everything is Amazing over as well as over once again. Most of the moment, the outstanding characters will assault the undesirable personalities that spawn there. Innovator trilogy personalities finally have the capability to dodge gun fire and have their actual own unique melee attack (as an example, Chewbacca dupes arms).

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LEGO is among the amazing establishments of our time with most likely the best range of toys ever made. Whichever Lego set you choose, you can relax simple knowing they're all mosting likely to be a variety of the hottest Christmas playthings of the year. Considering that their production, barely any kind of playthings have actually influenced the very same degree of creative thinking that you can see in LEGOs. These toys discover scenes from the movie but permit your kid to make their own tales likewise. Generally, you desire a kit that will provide hrs of amusement and fire up a creative stimulate in your youngsters! Fire enough and you'll secure a Mini Set.

You're chosen to be a spy. At 5195 items, the supreme Collection collection Millennium Falcon is what I was looking for! Bumblebee was a fantastic guy. For this reason the legacy of a single childhood is handed down to a different generation and after that one more. This ship might be the launch of an entire selection of LEGO Star Wars Toys. For real accomplishment, you may land the room ship in the major center, it does not require to be in a level.

There aren't much locations to obtain a Slave I 7153 collection. Yes, there are a few brand-new collections however that's it. The absolute most pricey retired Lego sets can bring as many as 5 figures. They are very easy to create that there are little constraints on the age variable when it comes to expressing cognitive skills. While you can buy particular LEGO sets, it's your choice to select how best to assemble the items. It is believed to be an unusual LEGO established since it is ceased and reasonably difficult to uncover.

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As you could have discovered, the amount of larger sets has actually boosted in current years. Other Lego items additionally include the Minifigures, like the Lego watch. This Lego plaything that's claimed to be definitely the most widely known items of Lego ever before made by Lego Firm.

It's a legendary battle and a fantastic start to the film that everyone keeps in mind. Children like Lego as well as it is amongst the most widely known presents to give a young kid at Christmas, this year is no exemption. My child has quite a number of the LEGO Celebrity Wars series and hopes, needless to claim, to receive all of them.

Some are detailed and also hard while some return to the less complex side of LEGO construction. An automobile can grow to be a home or a spacecraf, based on the youngster's vision as well as the pieces can adapt to any kind of variety of mixes. Of course, when you're able to save some galactic credit histories, it's likewise a good idea to look at checking out toy conventions like the ones held in San Diego each year.

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Buy Abstract Paintings and Drawings

Paintings and drawings are a playground of delights. Artists use form, colour, line, texture, pattern, composition and procedure to present provoke emotions and ideas in a nonlinear style. An abstract painting may be about any one or combination of these elements.

Art has the ability to express what visual art styles can't. It can address notions that are intangible and theoretical, existing in the realms of mind and spirit, rather than in reality. Abstract art utilizes shape, pure colour, and form to express its meaning, without becoming bogged down in the storylines carried scenery and by objects. As abstract art can touch the emotions in a raw brand new and powerfully direct manner.

I write as a subject in art and as a type of art about abstraction. This page will focus on the this product at Virtosu Art Gallery qualities of art that is abstract - that is, what form it takes and what it looks like. To deepen your understanding of the significance, purpose, history and context surrounding abstract art, I highly suggest reading my abstract art post.

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Although art exists as a general style describing art, there are many, many diverse styles within the genre. Each style of abstract art serves its particular meaning or schedule. Moreover, each artist has their own individual style. By way of example, some artists use many colours, but minimal color is used by some. Some artists that are abstract incorporate lots of details and patterns, and others paint vast blocks of colour. There are artists who focus on the push and pull of negative and positive space (or other formal attributes ), while others focus on visual storytelling. In short, there are many diverse ways to approach artwork that is abstract!

A brief list of the many artwork styles/movements include: aboriginal art, abstract expressionism, minimalism, non-objective, neo-plasticism, color area, lyrical abstraction abstraction, Russian Constructivism, geometric abstraction, and action painting.

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To examine an abstract painting or drawing concerning its style, you want to pay attention to the following areas: virtosuart.com/gallery/gheorghe-virtosu/collection-2016/atomic-era form, color, line, texture, pattern, composition and process.

The unifying element amongst all forms of art is that the work is non-representational and non-objective. It follows that the artwork does not intentionally look like anything. Art can be based on a form which exists in fact, or it can be based purely on the creativity. In abstract art, the approach is often just as important (if not more important in the experience of the artist), than the final product. There are a number of ways that an artist can apply paint to an abstract painting, like scraping, brushing, splattering, dripping, rolling or soaking the paint. Their brushstrokes might be rough and choppy, or fine and delicate. They may work entirely intuitively, making the painting off the top of the head. Or they may take the pre-planned approach, before putting the brush carefully penciling in the details. In addition artists may also attach the canvas to create an additional dimension to the art and other or sand forms of texture together.

Here'a a quote from the man credited as being the"first" abstract artist in Western art:

It demands that you learn how to draw that you have a heightened sensitivity for colours and for composition, and that you be a true poet. This visit Virtosu Art Gallery last is essential."

-- Wassily Kandinsky

See this product at Virtosu Art Gallery

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Buy Abstract Paintings and Drawings

Abstract paintings and drawings are a playground of delights. Abstract artists use pattern, colour, line, texture, form, composition and procedure to present provoke emotions and ideas in a poetic style. An abstract painting can be about any one or combination of those elements.

Abstract art has the capacity to express what other art styles can't. It can address concepts that are theoretical and intangible, existing in the realms of soul and mind, as opposed to in reality. Abstract art utilizes colour, shape, and form carried by scenery and objects. As abstract art can get the emotions in a manner that is fresh, raw and powerfully.

I write as a type of art and as a topic in art. This page will focus on the qualities of art - that is, what it looks like and what form it takes. I highly suggest reading my abstract art post to deepen your understanding of the meaning, purpose, history and circumstance surrounding abstract art.

There are many, many different styles within the genre, although art exists as a style describing non-objective artwork. Each style of art serves agenda or its own particular meaning. In Discover more addition, each artist has their own individual style. For example, some artists use many colours, but minimal color is used by some. Some artists that are abstract incorporate lots of patterns and details, and others paint vast blocks VIRTOSU ART GALLERY of colour. There are artists who concentrate on the push and pull of positive and negative space (or other formal qualities), while others focus on visual storytelling. In a nutshell, there are lots of different ways to approach art that is abstract!

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A list of the many different artwork styles/movements include: minimalism, abstract expressionism, aboriginal art, non-objective, neo-plasticism field abstraction abstraction, Russian Constructivism abstraction, and action painting.

Whew, what a list!

To examine an abstract drawing or painting in terms of its style, you want to actively pay attention to the following areas: composition, colour, line, texture, pattern, form and process.

The unifying element amongst all sorts of abstract art is that the work is non-objective and non-representational. It https://www.virtosuart.com/gallery/gheorghe-virtosu/collection-2016/the-austro-hungarian-empire follows that the artwork does not intentionally look like anything. Abstract art can be based on a form which exists in fact, or it can be based purely on the creativity. There are a number of ways that paint can be applied by an artist to an abstract painting, such as rolling, brushing, splattering, dripping, scraping or soaking the paint. Their brushstrokes may be delicate and fine, or choppy and rough. They may work intuitively, making the painting. Or they might take the approach that is pre-planned, carefully penciling in the details. In addition, abstract artists can also attach other or sand kinds of texture to the canvas to create an added dimension to the artwork.

Here'a a quote from the man credited as being the"first" abstract artist in Western art:

"Of all the arts, abstract painting is the toughest. It demands that you be a poet, and that you learn how to draw well, that you have a heightened sensitivity for composition and for colors. This last is essential."

-- Wassily Kandinsky

See this product at Virtosu Art Gallery

Read more…

Buy Abstract Paintings and Drawings

Abstract paintings and drawings are a playground of visual delights. In abstract art, the artist can create worlds of contemplation and colour. Artists use line, colour, form, texture, pattern, composition and procedure to present ideas and provoke emotions in a nonlinear style. An abstract painting can be about any one or combination of these elements.

Art has the capacity to express what other art styles cannot. It can address concepts that are intangible and theoretical, existing in the realms of mind and soul, as opposed to in reality. Art utilizes color, shape, and form to express its meaning, without becoming bogged down in the storylines carried scenery and by objects. As abstract art can touch the emotions in a raw, brand new and powerfully manner.

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I write about abstraction. This page will focus on the stylistic qualities of abstract art - that is, what it looks like and what form it takes. To deepen your understanding of circumstance, purpose, history and the meaning surrounding visit Virtosu Art Gallery art, I highly suggest reading my other abstract art article.

Although art exists as a general style describing non-objective art, there are many, many diverse styles within the genre. Virtosu Art Gallery company Each style of art that is abstract serves its own meaning or schedule. Moreover, each artist has his or her own individual style. For example, some artists use colours, but minimal color is used by some. Some abstract artists incorporate lots of patterns and details, and others paint vast blocks of colour. In a nutshell, there are lots of diverse ways to approach art!

Fuzzy Abstract Art by Thaneeya

A list of the many different art styles/movements contain: aboriginal art, abstract expressionism, minimalism, non-objective, neo-plasticism area, lyrical abstraction abstraction, Russian Constructivism abstraction, and action painting.

Whew, what a list!

You want to actively take note of the following areas: composition, colour, line, texture, pattern, form and procedure to examine an abstract painting or drawing in terms of its style.

The main element amongst all forms of art is that the https://www.virtosuart.com/gallery/gheorghe-virtosu/collection-2015/the-beast-of-nazism work is non-objective and non-representational. It follows that the art does not look like anything. Art can be based or it can be based purely on the imagination. In abstract art, the process is often just as important (if not more important in the experience of the artist), than the final product. There are a number of ways that an artist can apply paint to an abstract painting, such as brushing, rolling, splattering, dripping, scratching or soaking the paint. Their brushstrokes may be rough and choppy, or delicate and fine. They may work intuitively, making the painting. Or they may take the approach, before putting the brush to 19, carefully penciling in the details. In addition artists can attach sand or other forms of texture to the canvas.

It demands that you learn how to draw that you have a heightened sensitivity for composition and for colours, and that you be a poet. This last is essential."

-- Wassily Kandinsky

See this product at Virtosu Art Gallery

Read more…

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I have taught drawing and painting to undergraduates for almost as long, and have been an abstract painter for about 25 years.

From both perspectives, I've concluded that painting, in terms of its influence on culture, continues to be marginalized -- it is a wallflower at the postmodern art celebration.

Take a prominent example of painting's situation as we approach the 21st century: The lists of last year's finalists for the modern art world's two Oscar-like awards -- the Turner Prize, in Britain, and the Hugo Boss Prize, handed out from the Guggenheim Museum -- included not a single painter. In actuality, among painters, many artists and non-painters alike, it is quietly acknowledged that the impact on the culture of painting is nil. Painting is viewed as, at best, an activity for a few diehards. At worst, it's considered destructively elitist, a portion of the"oppressor culture" of dead white European men. The public -- attached to television, films, and computers registers painting . The only question left is if there is any audience at all for painting and, even if there is to preserve it.

This essay is a defense of abstract painting, painting's most difficult to understand and irrelevant kind that exists. By limiting my topic to abstract painting -- which focuses on structure and builds a whole flat reality from colour, surface, shape, traces of the hand, mistakes, and changes -- I can best address the question of why anybody should continue to create paintings, when so many more visually powerful media are available.

In safeguarding abstract painting, I must first toss overboard some excess baggage. I take as my model the abstract painter Ad Reinhardt, who thought that the claims of the Abstract Expressionists in'50s and the 1940s amounted to poppycock. To give painting back its dignity, he set forth, both in his own paintings and at a series of"dogmatic" statements, what abstract painting is not. Allow me, in the spirit of Ad Reinhardt, to set forth my list of what painting isn't:

First painting is not a vehicle for political or social change, even though its leaders believed it was. Today, even more than in Reinhardt's day, if a figurative painter paints a picture that asserts a specific social or political perspective, its effect -- in a society flooded with books, magazines, papers, photos, movies, television, video, and computers -- is ridiculously small. The possibilities are fewer with abstract painting.

Abstract painting is not avant-garde. It was in 1915, but it isn't anymore. With regard to its capacity to shock anyone -- the rallying cry of this now-defunct avant-garde -- painting now is feeble in comparison to the ability of the media mentioned previously.

Third, abstract painting has never been, and most likely never will be, broadly popular. Yes, its leaders -- Kandinsky, Malevich, Mondrian -- all held utopian hopes but they were demonstrated poignantly .

Abstract painting cannot offer you a lot of what we call Deep Hidden Meaning, in how religion or philosophy can. Put bluntly painting can't provide a replacement for God -- the loss of whom is the earmark of modernism. Indeed, the ability of painting to move people is considerably poorer than that of other arts, such as poetry, theater, books, or music.

On the other hand to keep in a more moderate, but no less passionate spirit than that of Reinhardt -- here is what abstract painting can do:

First, it offers what I'll call Small Hidden Meaning. To a viewer that can look at a still picture (for some, a difficult prospect), and who's knowledgeable enough to put an abstract painting in the context of modern art as a whole, abstract painting offers a de facto philosophical viewpoint on life. There is a mistaken belief, coming out of our lingering attachment and from our own narcissistic age, that abstraction is about self-expression. In the broadest sense it is, of course, but it's also about ideas -- the complex battle between order and chaos, by way of example, or the way the flux of the organic world modifies the rigor of geometry.

Second painting can enable us to be silent. From the 1989 French movie The Little Thief, a character attracted a roomful of people dancing wildly to stone'n' roll to a standstill by bellowing at them to be quiet so that he and his wife could dance a slow waltz. Painting makes for a quiet room in the arts, allowing for a slow waltz.

Third, abstract art provides a counter to the glut of things of our society. An abstract painting is a thing, of course. However, it reminds people of a world without things. It suggests the old concept, now hardly remembered, that there may be a hidden, underlying order, which the transience of life's items can not affect.

Artists from the arrival of modernism on have substituted the pursuit of truth for the pursuit of beauty -- truth in understanding, truth in form, truth in substances. Many artists -- rightly -- are leery of the very idea of this gorgeous, because it so easily petrifies into some rigid standard. Once locked into place,"attractiveness" obliterates the wide array of subtle variations inside. Additionally, politics encircles beauty, making the subject difficult to discuss directly: For many, notions of the beautiful are simply"cultural constructs," used by dominant cultures to suppress"the Other."

Most baffling of all, folded up and hidden within the notion of beauty are values. Beauty implies an inequality from the way things look. If there is beauty, there's ugliness, and everything else in between.

But some people can not help their"elitist," or meritocratic, impulses when it comes to aesthetics, and are struck dumb by how utterly beautiful an abstract painting could be.

A fifth virtue of abstract painting is that it's not a story, particularly none from the most readily accessible facet of civilization, which is all tales. We're bombarded by endless tales -- in television shows, advertisements, books, movies, and virtual-reality games. By means of telling stories, we are constantly teaching and preaching, persuading and dissuading. Picking up on that aspect of our civilization, many non-abstract painters have added stories, or"narratives," into their paintings. But abstract painting resists narration and presents itself at once, as a whole or a oneness that cannot, and never will, tell a story.

A final virtue of abstract painting is its very uncomputer-like nature. The camera is so powerful that many people have reached the point where they can see the world just photographically or cinematically, and have lost the ability to see it in other ways. Before long, people will see the world only digitally.

It defies translation into information, information, entertainment, rational image, or any type of narrative. In the middle of a world in which everything we see is morphing into something different, abstract painting is one of the few things left that allow us to see the prospect of something's staying constant.

If what I'm saying about the virtues of abstract painting is true, then why isn't there more interest in this art? It will not do to start listing all the abstract painters around, since the point is that few people pay much attention to them, compared with either figurative artists in general, or new-media artists working with sound and video installations. Yes, abstract painters still exist, but they're an aging lot, for the most part ignored. More worrisome is the seeming absence of a new generation of youthful and enthusiastic abstract painters. How can it be that abstract painting, a significant participant in most of 20th-century artwork, has arrived at this sorry point, where it is barely a contender?

And how can it be that painting in general, not just abstract painting, has arrived at this point?

I suggest that the answer is rooted in two irrevocable changes that happened in the 19th century: First, the invention of photography, in 1839, and second, the general upheaval in doctrine. The invention of photography enabled anyone, even someone who had no painting or drawing skills, to fix an image of the real world on a level surface quickly and accurately. The painter suddenly seemed irrelevant and slow in his way of replicating the appearance of reality.

More important, photography threw into question the whole raison d'etre of painting. For if the camera has been recording the world objectively through light rays bouncing off objects, then painting, by comparison, looked subjective, even fictive. If painters couldn't compete with the camera in mimicking reality, they would assert an alternative objective reality: All individual perceptions are accurate -- at least to the perceiver -- and therefore equally valid. Impressionist artists in the 1870s and 1880s, for all their stylistic differences, shared the conviction that it was the individual artist's eyesight that was true.

That fundamental change in outlook changed the look of art in the modern era. It was a shift from aesthetic impact, which relied on artifice -- which is, faking, telling lies -- to intent, which relied on telling the truth, as being sincere, known by artists.

After Freud and Darwin, artists didn't concern themselves with beauty anymore, except as an aside, or a byproduct, since they played and manipulated with form. Philosophy attempted to come forth with a solution. It would protect beauty by separating it from destructive scientific investigation, and leave it alone as a"subjective" judgment. Philosophy yielded its primary position as objective interpreter of the world to science. Science subsequently broke leaving everything else behind, as rubble, including poor doctrine. That rubble reconstituted itself as the substance of relativism -- the idea that moral and aesthetic judgments are subject to continual flux. Relativism was around at least since Plato, of course, but the age marked the victory of the relativist position.

The hatchet man of relativism is irony. To condense an awful lot of the history of 20th-century artwork into one sentence: The past 80 years have consisted basically of a battle between the ironists, who have reveled in the impossibility of universal truths, and the holdout universalists, who've tried to rebuild classical philosophical truths in a modern visual language. To put it differently, it's been Duchamp versus Mondrian. Although more by sacrifice than by knockout -- and Duchamp is the winner.

It required Duchamp a while to win. Until then, when Pop Art burst Abstract Expressionism's bubble, it had been coasting on its inflated standing; at that point, Pop Art sprouted from the smart, witty seed that Duchamp had implanted a half-century earlier. By simultaneously mocking and celebrating the modern culture of"stuff," Pop made the abstract painter's self-absorbed escape look equally elitist and silly. Pop Art consisted of paintings on canvas, to be certain. But they were self-destructive. Pop Art's implied message was that it was the appropriated images that counted -- the Campbell's soup cans, Marilyn Monroe -- and not the way in which paint was placed on the canvas. Painting had been profoundly centered on the artist's signature, but painting worried picture or the content.

Since World War II, our civilization has steadily evolved into what we identify as"mass culture" -- one in which millions of people's interests are simultaneously and speedily gratified through popular music, movies, sports, and celebrities. Fewer and fewer people care about the slow action called painting. Beginning in early'70s and the late'60s , young musicians, drawn to the art forms of installation, performance, and video art, abandoned painting. They'd grown up with TV and rock'n' roll; they were hip, smart, and eloquent; they knew and embraced the seductiveness and power of popular culture, and they wanted in on it.

We reclusive and out-of-it and trendy on the one hand, have arrived at a branch in the art world: hip on the other. How can painters who need to have an impact on their culture remain at the face of that?

First, they must aggressively distinguish themselves from popular culture, rather than try to become bit players. They have to reargue the case for art -- an art requiring a viewer. Abstract artists are creating paintings that can't be understood by everybody. They need to admit that to find meaning in abstract painting requires some work, and even some help.

And painters need to celebrate loudly, rather than apologize for, their artwork's convention-bound nature. That moment is forever over, although the revolution itself -- the second that invented abstraction -- must have been electrifying. For abstract painters and their viewers, the experience is profoundly different from what it had been due to their revolutionary forebears. Art is a quiet pleasure as opposed to a dizzying thrill. The conventions are created, just as in baseball, and to derive pleasure from abstraction requires accepting its rules rather than deconstructing them.

Yes, abstract art is elitist, and artists must be upfront about that. However, like and you don't have to stop loving The X-Files or the struggles to understand abstract art. Nor do you have to be a white male of royal blood. Yes, it is a product of European culture, but are penicillin, computers, airplanes, and this essay. There are abstract painters, and patrons of painting, of both genders and all races.

Many, if not most, young artists hoping to get up a rung don't care one whit about painting or its own tradition in Western history. In actuality, aside from the fashion for discovering one's"roots," that they aren't interested in seeing history as something to belong to, or to be a part of, or to carry forward. Although a lot of young, non-white artists refer to their own heritage in their art, the issue for them is more identity than aesthetics. The point is, most young artists (whatever their race or sex) prefer to see history, especially art history, as a enormous amount of information that sometimes is useful for rummaging around in for ironic references, but which largely is a pain in the neck and best left ignored.

If we pull back from the abyss of Nietzsche's picture of our condition, one viable premise: It's history, used properly can be taken from him by us. But what is the use of history? People today distrust it. Because they are convinced that knowledge is a smokescreen for power they wish to know and who's doing the telling.

However, it's only when the non-ironic use of visual history is coupled with the desire that is particular to make images that the young artist, in particular, can learn painted abstract graphics and the meaning of abstract painting's visual language. No matter what, some people -- even some artists -- will not"get" abstract painting, for reasons that range in their belief that all art is political for their poor visual aptitude. In the end painting will attract an audience more likely to read the Aeneid in Latin than to watch Sarah McLachlan on MTV.

But small because its audience may be, abstract painting can say something about modern culture. Abstract painters don't begin their paintings in a vacuum. Rather, they build on the foundation of historical abstraction. Individual paintings are caused by an accumulation of errors, wrong turns, corrections, and resolutions. Abstract painters paint the way rebelling against the options and the givens, the actions that are abstract oil painting gallery purposeful and the injuries and building on. An abstract painting, then, offers the perfect metaphor for life.

George Orwell said that each and every man at 50 has. In space and virtual time, there's absolutely no 50-year-old face. In a computer picture, of course, there no longer exists the notion of a mistake, because all evidence of it is concurrently retrievable and destroyable. The image does not have any wrinkles when we take away the ability to make a real mistake in art, one which can not be wiped out. It carries a thin, rigid veneer, like the continuously lifted, stretched faces of 65-year-old Park Avenue matrons. At a glance, those women look nice. But a longer look yields blankness. It is through our errors and, indeed, our sins, both in life and in art, that we gain the capacity for possible redemption and innovative improvisation.

Since it attracted attention painting was the sound in the culture. Now, the culture is the noise, and painting -- especially abstract painting -- attracts little attention in the art world or in the culture at large. Abstract painting's saving virtue is that it provides us quiet, not noise today. A cultural crisis is indeed at the end of the 20th century: the level of everything, and the passing of stillness. Our culture cans not change, but neither can setup art, computer art, nor attempts at appropriation, no matter how smart and informed they are. Those art forms that appropriate the media are doomed to look pale compared to them, or worse, to be squeezed down to their enormous black hole. Abstract painting's power is this: It is a world superbly separate from our materialistic, morphing, ironic, stylish age.

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I have taught drawing and painting to undergraduates for nearly as long, and have been an abstract painter for about 25 years.

From both perspectives, I have concluded that painting, in terms of its influence on culture, continues to be marginalized -- it's a wallflower at the postmodern art party.

Take a prominent example of painting's situation as we approach the 21st century: The lists of last year's finalists for the contemporary art world's two Oscar-like awards -- the Turner Prize, in Britain, and the Hugo Boss Prize, handed out from the Guggenheim Museum -- included not one painter. In actuality, among non-painters, painters and many artists alike, it is quietly acknowledged that painting's effect on the culture is nil. Painting is seen as, at best, an activity for a few diehards. At worst, it is considered destructively elitist, a portion of the"oppressor culture" of dead white European men. Painting is -- hardly registered by the general public -- attached to computers, television, and movies as having anything relevant to say. The only question is if there's any audience at all for painting and, even if there is, how to preserve it.

This essay is a defense of abstract painting, the most difficult to understand and irrelevant kind of painting that exists. By limiting my subject to abstract painting -- which concentrates on structure and builds a whole flat reality from colour, surface, shape, traces of the hand, mistakes, and changes -- I can best deal with the question of why anyone should continue to create paintings, when so many more visually powerful media are available.

In defending abstract painting, I must toss overboard some excess baggage. I take the iconoclastic painter Ad Reinhardt, who thought that the claims of the Abstract Expressionists in the 1940s and'50s amounted to poppycock. To provide painting back its dignity, he put forth, both in his own paintings and in a series of"dogmatic" statements, what abstract painting is not. Allow me, in the spirit of Ad Reinhardt, to put of what abstract painting isn't my list forth:

First, abstract painting isn't a vehicle for political or social change, even if its pioneers thought it was. Today, even more than in Reinhardt's day, if a figurative painter paints a picture that asserts a specific social or political point of view, its effect -- in a society bombarded with books, magazines, newspapers, photos, movies, television, video, and computers -- is ridiculously small. The possibilities are fewer with painting.

Abstract painting isn't avant-garde. It isn't anymore, although it was in 1915. In terms of its ability to shock anybody -- the rallying cry of the now-defunct avant-garde -- painting now is weak in comparison to the power of the media.

Abstract painting has never been, and likely never will be, broadly popular. Yes, its pioneers -- Malevich, Kandinsky, Mondrian held utopian hopes but they have been proved poignantly wrong.

Abstract painting can't offer a lot of what we call Deep Hidden Meaning, in how philosophy or religion can. Put bluntly, abstract painting can't provide a substitute for God -- of whom is the earmark of modernism, the loss. The ability of painting to move people at all is much weaker than that of other arts, such as novels, theater, music, or poetry.

On the other hand to continue at a soul than that of Reinhardt -- here is what abstract painting could do:

First, it offers what I'll call Little Hidden Meaning. To a viewer that can look at a still image (for some, a difficult prospect), and who is knowledgeable enough to place an abstract painting in the context of contemporary art as a whole, abstract painting offers a de facto philosophical viewpoint on life. A notion is, coming from our own narcissistic age, that abstraction is about self-expression and from our lingering attachment to Romanticism. In the broadest sense it is, of course, but it's also about ideas -- that the intricate struggle between order and chaos, for example, or how the flux of the organic world modifies the rigor of geometry.

Second, abstract painting can empower us to be silent. In the 1989 French movie The Little Thief, a character brought a roomful of people dancing wildly to stone'n' roll to a standstill by bellowing at them to be quiet so that he and his wife could dance a slow waltz. Painting makes allowing for a slow waltz.

Third art offers a counter to our society's glut of items. An abstract painting is a thing, of course, a part of the material world. But it reminds people of a planet. It suggests the old concept, now barely remembered, that there may be a hidden, underlying order, which the transience of life's things can not affect.

Fourth, abstract painting is often, quite simply, beautiful -- although that assertion is subject to tremendous dispute. Artists from the arrival of modernism on have substituted the pursuit of truth for the pursuit of beauty -- truth in understanding, truth in form, truth in substances. Many artists -- rightly -- are suspicious of the very idea of this gorgeous, as it so readily petrifies into a rigid standard. Once locked into place,"beauty" obliterates the wide array of subtle variations within it.

Most baffling of all, hidden within the notion of beauty and folded up are values that are conflicting. Beauty implies an inequality in the way things look. There's everything in between, and ugliness, if there is beauty. That type of ranking offends our democratic sense of justice, because we moderns have defined justice as that which most closely approximates equality.

A fifth virtue of abstract painting is that it's not a story, especially none from the most easily accessible facet of culture, which is all tales. We are bombarded by endless stories -- in television shows, advertisements, books, movies, and virtual-reality games. We're always teaching and preaching, persuading and dissuading, by means of telling stories. Picking up on that aspect of our civilization, many non-abstract painters have inserted stories, or"narratives," into their paintings.

A last virtue of painting is its very uncamera-like nature. The camera is so powerful that lots of people have reached the point where they can see the world only photographically or cinematically, and have lost the ability to see it in other ways.

What abstract painting provides us in the end of the 20th century is, in sum, a futile non-story, a non-blinking"thereness," without reference to anything other than itself and its own heritage. It defies translation to data, information, entertainment, rational image, or any type of narrative. In the midst of a world in which everything we see is morphing into something else, abstract painting is among the few things left that allow us to see the possibility of something's staying constant.

If what I'm saying about the virtues of abstract painting is true, then why isn't there more interest in this art? It will not do to begin listing all of the abstract painters around, since the point is that few people pay much attention to them, compared with either figurative artists in general, or new-media artists working with video and sound installations. Yes, abstract painters still exist, however they are an aging lot, for the most part ignored. More worrisome is the seeming absence of a new generation of youthful and passionate abstract painters. How is it that abstract painting, a significant player in most of 20th-century artwork, has arrived at this sorry point, where it is barely a contender?

And how can it be that painting in general, not just abstract painting, has arrived now?

I suggest that the answer is rooted in two irrevocable changes that took place in the 19th century: First, the invention of photography, in 1839, and second, the general upheaval in doctrine. The invention of photography enabled anybody, even someone who had no drawing or painting skills, to resolve a picture of the real world onto a level surface quickly and correctly. The painter suddenly seemed slow and insignificant in his way of replicating the appearance of reality.

More significant, photography threw into question the entire raison d'etre of painting. For if the camera was recording the world through light rays bouncing off objects, then painting, in contrast, looked subjective, even fictive. If painters could not compete with the camera in mimicking reality, they would assert an alternative objective reality: All individual perceptions are accurate -- at least to the perceiver -- and therefore equally valid. Impressionist artists in the 1870s and 1880s, for all their stylistic differences, shared the conviction that it was the individual artist's eyesight that was objectively true.

It was a change from aesthetic impact, which relied on artifice -- that is, faking, telling lies -- to intent, which relied on telling the truth, as being sincere, understood original abstract art by artists.

After Freud and Darwin, themselves did not concern with beauty , except as a byproduct, or an aside, as they manipulated and played with form. It would protect beauty by separating it from destructive scientific investigation, and leave it alone as a"subjective" judgment. Philosophy yielded its primary position as interpreter of the world to science. Science then broke leaving everything behind, including doctrine that was poor, as rubble. That rubble reconstituted itself as relativism's substance -- the notion that moral and aesthetic judgments are subject to flux. Relativism had been around at least since Plato, of course, but the modern age marked the success of the position.

The relativist reply to practically any pretension to universal truth, beauty, or authority is, in effect,"Oh, yeah?" The hatchet man of relativism is irony. To condense an awful lot of the history of 20th-century artwork into one sentence: The past 80 years have consisted basically of a battle between the ironists, who have reveled in the impossibility of universal truths, and the holdout universalists, who have tried to reconstruct classical philosophical truths in a contemporary visual language. To put it differently, it's been Duchamp versus Mondrian. And Duchamp is the winner -- although forfeit.

It required Duchamp some time to win -- until the 1960s. Until then, when Pop Art burst Abstract Expressionism's bubble, it had been coasting on its inflated reputation; at there, Pop Art sprouted from the smart, witty seed that Duchamp had implanted a half-century earlier. By simultaneously mocking and celebrating the modern culture of"stuff," Pop made the abstract painter's self-absorbed retreat look equally elitist and silly. Pop Art consisted of paintings on canvas to be certain. But they were self-destructive. Painting had always been centered on the artist's signature, but now painting concerned the content or picture.

Since World War II, our culture has steadily evolved into what we recognize as"mass culture" -- one where millions of people's interests are concurrently and gratified through popular music, films, sports, and celebrities. Fewer and fewer people care about the slow action called painting. Beginning in early'70s and the late'60s , young musicians, drawn to the new art forms of video art, and installation, performance, abandoned painting in droves. They had grown up with TV and rock'n' roll; they were hip, smart, and eloquent; they knew and embraced the seductiveness and power of popular culture, and they wanted in on it.

We reclusive and out-of-it and trendy on the one hand, have now arrived at a branch in the art world: hip on the other. How do continue in the face of that?

They must distinguish themselves rather than try to become bit players. They have to reargue the case for high art -- an art requiring a subtle, sensitive, experienced, and even exceptional viewer. Abstract artists are making . They need to admit this to find meaning in painting requires some work, and even some help.

And abstract painters need to observe loudly, rather than apologize for, the convention-bound nature of the art. These artists work within a rectangle, they use paint on canvas, and they follow a century of developed traditions of abstract painting. The revolution itself -- the early-modern moment that invented abstraction -- must have been electrifying, but that moment is forever over. For abstract painters and their audiences, the experience is profoundly different from what it had been for their forebears. Abstract art is a pleasure as opposed to a dizzying thrill. The conventions are established, just as in baseball, and to derive pleasure from abstraction requires accepting its rules rather than deconstructing them.

Yes art is elitist, and artists should be up-front about that. But like and you don't need to stop loving the struggles or The X-Files to understand art. Nor do you have to be a white male of European blood. Yes, it's a product of culture, but are penicillin, computers, planes, and this essay. There are painters, and patrons of painting, of both sexes and all races.

Many, if not most artists hoping to get a rung up on the art-world ladder don't care one whit about painting or its own tradition in history, today. In actuality, aside from the fashion for discovering one's"roots," that they aren't interested in seeing history as something to belong to, or to be a part of, or to proceed. The issue for them is identity than aesthetics although young artists indeed refer to their own racial heritage in their artwork. The point is, most young musicians (whatever their race or sex) prefer to see history, especially art history, as a enormous amount of information that at times is useful for rummaging around in for ironic references, but which mostly is a pain in the neck and best left ignored.

One viable premise: It is history, used properly can be taken from him by us, if we pull back from the abyss of Nietzsche's image of our condition. But what is the right use of history? People today distrust it. Because they are convinced that knowledge is a smokescreen for electricity they want to know and who is doing the telling.

Unfortunately, however, it's only when the non-ironic use of history is coupled with the desire to produce images that the young artist, in particular, can learn painted abstract graphics and the meaning of painting's language. Regardless of what, some people -- even some artists -- will never"get" abstract painting, for reasons that range in their belief that all art is political to their inferior visual aptitude. In the end, abstract painting is going to attract an audience more likely than to watch Sarah McLachlan on MTV, to read the Aeneid in Latin.

But small as its audience may be, abstract painting can say something. As a colleague of mine from Hofstra University, the late Michael Gordon (himself a painter), frequently argued, it sets up a powerful moral parallel to the way in which we lead our lives. Painters do not start their paintings . They build on the foundation of abstraction that is historical. Individual paintings are the result of an accumulation of wrong turns mistakes, corrections, and settlements. Abstract painters paint the way rebelling against the options and the givens, the actions that are purposeful and the injuries and building on. An abstract painting, then, offers the perfect visual metaphor for life.

George Orwell said that each and every guy at 50 has. In space and virtual time, there is not any 50-year-old face. Everything is a toggle option that wipes out the previous smiles or frowns and obliterates"bad" or"wrong" choices. In a computer picture, of course, there no longer exists the concept of a mistake, because all evidence of it is retrievable and destroyable. The last image has no wrinkles, when we take away the ability to make a real error in art, one which can't be wiped out. It carries a thin, stiff veneer, such as the continuously stretched faces of Park Avenue matrons. At a glance, those ladies look fine. But a look yields that are longer blankness. It is through our mistakes and, indeed, our sins, both in life and in art, we gain the capacity for redemption that is possible and innovative improvisation.

Because it attracted attention, painting was the noise in the culture. The culture is the noise, and painting -- especially abstract painting -- attracts little attention, either in the art world or in the culture at large. The saving virtue of abstract painting is that it provides us silent, not noise today. There's indeed a cultural crisis at the end of the 20th century: the continuous level of everything, and the death of stillness. Abstract painting cannot alter our culture, but neither can setup art, computer art, nor new-media attempts at appropriation, no matter how savvy and smart they are. Those art forms that the popular media that is appropriate are doomed to look worse, or pale in comparison to them, to be squeezed down to their enormous hole. The ability of abstract painting is this: It is a world beautifully separate from our postmodern, materialistic, morphing, ironic, age that is hip.

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I have been an abstract painter for about 25 years, and have taught drawing and painting to undergraduates for almost as long.

From both perspectives, I have concluded that painting, in terms of its influence on contemporary culture, has been marginalized -- it's a wallflower in the postmodern art party.

Take a prominent example of painting's situation as we approach the 21st century: The lists of last year's finalists for the contemporary art world's two Oscar-like awards -- the Turner Prize, in Britain, and the Hugo Boss Prize, handed out by the Guggenheim Museum -- included not one painter. In fact, among painters, many artists and non-painters alike, it's quietly acknowledged that the impact on the culture of painting is nil. Painting is viewed as, at best, an esoteric activity for a few diehards. At worst, it's considered destructively elitist, a portion of the"oppressor culture" of dead white European men. The general public -- attached to films, television, and computers -- barely registers painting as having anything relevant to say. The only question left is whether there is any audience at all for painting and, if there is to preserve it.

This essay is a defense of abstract painting, painting's seemingly irrelevant and hardest to understand sort that exists. By restricting my topic to abstract painting -- that concentrates on structure and builds a whole flat reality from color, surface, shape, traces of the hand, mistakes, and adjustments -- I can best address the question of why anybody should continue to create paintings, when so many more visually powerful media are available.

In defending abstract painting, I need to first toss overboard some excess baggage. I take as my model the abstract painter Ad Reinhardt, who believed that the Abstract Expressionists in the 1940s and'50s' claims amounted to poppycock. To provide painting back its dignity, he put forth, both in his own paintings and at a series of"dogmatic" statements, what abstract painting isn't. Allow me, in the spirit of Ad Reinhardt, to set forth my list of what painting isn't:

First painting isn't a vehicle for social or political change, even though its leaders believed it was. Today, even more than in Reinhardt's day, if even a figurative painter paints a picture that argues a specific social or political point of view, its impact -- in a society flooded with books, magazines, newspapers, photos, movies, tv, video, and computers -- is ridiculously small. The chances are even fewer with painting.

Second painting is not avant-garde. It isn't anymore, although it was in 1915. In terms of its ability to shock anyone -- the rallying cry of the now-defunct avant-garde -- painting now is weak in comparison to the ability of the media mentioned above.

Third, abstract painting hasn't been, and likely never will be popular. Yes, its leaders -- Malevich, Kandinsky, Mondrian -- all held utopian hopes for its universal appeal, but they have been demonstrated .

Finally, abstract painting cannot offer you much of what we call Deep Hidden Meaning, in how religion or philosophy can. Put bluntly, abstract painting cannot provide a substitute for God -- the loss of whom is the earmark of modernism. Indeed, the ability of abstract painting to move people is much poorer than that of other arts, such as theater, music, novels, or poetry.

To continue at a spirit than that of Reinhardt -- here's what painting could do:

First, it provides what I'll call Small Hidden Meaning. To a viewer who can look at a still image (for some, a tricky prospect), and who's educated enough to put an abstract painting in the context of contemporary art as a whole, abstract painting provides a de facto philosophical point of view on life. A notion is, coming from our own narcissistic age, that abstraction is about self-expression and from our lingering attachment to Romanticism. In the broadest sense it's, of course, but it is also about ideas -- that the intricate battle between order and chaos, for instance, or how the flux of the natural world modifies the rigor of geometry.

Second painting can empower us to be silent. In the 1989 French movie The Little Thief, a character attracted a roomful of people dancing wildly to rock'n' roster to a standstill by bellowing at them to be quiet so that he and his wife could dance a slow waltz. Painting makes for a room in the arts, allowing for a slow waltz.

Abstract art provides a counter to our society's glut of things. An abstract painting is part of the material world, itself a thing, of course. But it reminds people of a planet. It suggests the old idea, now hardly remembered, that there might be a hidden, underlying order, which the transience of life's items can not affect.

Artists from the birth of modernism on have substituted the pursuit of truth for the pursuit of beauty -- reality in perception, truth in form, truth in substances. Many artists -- rightly -- are leery of the very idea of the gorgeous, because it so readily petrifies into some rigid standard. Once locked into place,"attractiveness" obliterates the wide selection of subtle variations within it.

Most baffling of all, hidden within the notion of attractiveness and folded up are values that are conflicting. Beauty implies an inequality from how things look. If there's beauty, there's ugliness, and everything else in between.

But some people can not help their"elitist," or meritocratic, impulses when it comes to aesthetics, and are struck dumb by how utterly amazing an abstract painting can be.

A fifth virtue of abstract painting is that it is not a story, particularly none from the most easily accessible side of culture, which is all tales. We are bombarded with endless tales -- in television shows, advertisements, books, movies, and virtual-reality games. By way of telling stories, We're always teaching and preaching, persuading and dissuading. Picking up on that aspect of our civilization, many non-abstract painters have added stories, or"narratives," in their paintings.

A final virtue of painting is its very uncomputer-like nature. Before long, people will see the world only digitally.

What abstract painting provides us at the end of the 20th century is, in sum, a useless non-story, a non-blinking"thereness," with reference to anything other than itself and its own tradition. It defies translation to data, information, entertainment, rational image, or any type of narrative. It presents an ineffable equilibrium of sensation, experience, and knowledge. In the midst of a world where everything we see is morphing into something else, abstract painting is among the few things left that enable us to see the prospect of something's remaining constant.

If what I'm saying about the virtues of abstract painting is true, then why isn't there more interest in this art? It will not do to start listing all of the abstract painters around, since the point is that few people pay much attention to them, compared with figurative artists in general, or new-media artists working with video and sound installations. Yes, abstract painters still exist, however they're an aging bunch, for the most part ignored. More worrisome is the seeming absence of a new generation of young and passionate abstract painters. How is it that abstract painting, a significant player in most of 20th-century art, has arrived at this sorry point, where it is barely a contender?

And how is it that painting in general, not just abstract painting, has arrived at this point?

The invention of photography allowed anyone, even someone who had no painting or drawing skills, to resolve an image of the real world onto a level surface quickly and accurately. The painter suddenly seemed irrelevant and slow in his way of replicating the appearance of reality.

More significant, photography threw into question the whole raison d'etre of painting. For if the camera has been recording the world objectively through light rays bouncing off objects, then painting, by comparison, looked subjective, even fictive. If painters could not compete with the camera in mimicking reality, they would assert an alternative objective truth: All individual perceptions are true -- to the perceiver -- and therefore equally valid.

It was a shift from effect, which depended on artifice -- which is, faking, telling lies -- to aesthetic intent, which depended on telling the truth, as being true understood by artists.

After Freud and Darwin, artists didn't concern themselves with beauty , except as an aside, or a byproduct, as they played and manipulated with form. Philosophy yielded its position as objective interpreter of the world. Science then broke loose, leaving everything else behind, as rubble that was abstract, including doctrine. That rubble reconstituted itself as relativism's substance -- the notion that aesthetic and moral judgments are subject to flux. Relativism was around at least since Plato, of course, but the age marked the victory of the position.

The relativist reply to any pretension to universal truth, beauty, or authority is, in effect,"Oh, yeah?" Relativism's hatchet man is irony. To condense an awful lot of the background of 20th-century art into one sentence: The past 80 years have consisted essentially of a struggle between the ironists, who have reveled in the impossibility of universal truths, and the holdout universalists, who've tried to rebuild classical philosophical truths in a contemporary visual language. To put it differently, it's been Duchamp versus Mondrian. Although more by sacrifice -- and Duchamp is the winner.

It required Duchamp a while to win. Until then, when Pop Art burst Abstract Expressionism's bubble, it had been coasting on its inflated reputation; at that point, Pop Art sprouted from the smart, witty seed that Duchamp had implanted a half-century earlier. To be sure, Pop Art consisted mainly of paintings on canvas. But they were self-destructive. Painting had always been profoundly centered on the artist's signature, but painting concerned the content or image.

Since World War II, our culture has steadily evolved to what we identify as"mass culture" -- one where millions of people's interests are concurrently and speedily gratified through popular music, films, sports, and celebrities. Fewer and fewer people care about the strange action. Beginning in early'70s and the late'60s musicians, attracted to the new art forms of installation, performance, and video art, abandoned painting in droves. They had grown up with TV and stone'n' roster; they were hip, smart, and eloquent; they knew and embraced the seductiveness and power of popular culture, and they wanted in on it.

We have now arrived at a division in the art world: fashionable and trendy on the one hand, reclusive and out-of-it on the other. How do abstract painters who want to have an effect on their culture continue in the face of that?

First, they have to aggressively separate themselves rather than try to be players. They must reargue the case for art -- an art requiring a subtle, sensitive, experienced, and even exceptional viewer. Artists are currently creating paintings that cannot be understood by everybody. They need to admit that to find meaning in painting takes some aid, and even some work.

And painters need to celebrate loudly, rather than apologize for, the convention-bound character of the art. These artists work within a rectangle, they use paint on canvas, and they follow a century of traditions of abstract painting. The revolution itself -- the second that invented abstraction -- must have been electrifying, but that moment is forever over. For abstract painters and their viewers, the experience is profoundly different from what it had been due to their forebears. Abstract art is a pleasure rather than a thrill. The conventions are created, as in baseball, and to derive pleasure from abstraction requires accepting its rules rather than deconstructing them.

Yes, abstract art is elitist, and artists should be upfront about that. But you don't need to stop loving The X-Files or the struggles to understand and enjoy abstract art. Nor do you need to be a white male of European blood. Yes, it is a product of European culture, but so are computers planes, penicillin, and this essay. There are patrons of painting, and abstract Virtosu Art Gallery gallery of abstract oil painting painters, of all races and both sexes.

Many, if not most, young artists hoping to get up a rung on the art-world ladder don't care one whit about painting or its own tradition in history, today. The issue for them is much more identity than aesthetics, although many non-white artists really refer to their heritage in their art. The point is, most young musicians (whatever their race or sex) prefer to see history, especially art history, as a massive quantity of information that sometimes is useful for rummaging around in for ironic references, but which largely is a pain in the neck and best left ignored.

One premise: It is history, used that separates us from the lives of dogs, cats, and cows can be taken from him by us, if we pull back from the abyss of Nietzsche's image of our condition. But what, exactly, is the use of history? People today distrust it. Since they're convinced that understanding is a smokescreen for electricity, they want to know why and who is doing the telling.

Unfortunately it's only when the non-ironic use of visual history is coupled with the desire that is particular to produce images that the artist, in particular, can learn the visual language of abstract painting's meaning and painted images. No matter what, some people -- even some artists -- will never"get" abstract painting, for reasons that vary in their belief that all art is political for their poor visual aptitude. In the end, abstract painting will attract an audience more likely than to see Sarah McLachlan on MTV to read the Aeneid.

But small as its audience could be painting can say something. Abstract painters don't start their paintings in a vacuum. Rather, they build on the foundation of abstraction. Paintings are the result of an accumulation of wrong turns, mistakes, corrections, and resolutions. Abstract painters paint the way we lead our lives -- rebelling against the givens and the options, the actions that are purposeful and the injuries and building on. An abstract painting, then, offers the perfect metaphor for life.

George Orwell said that each and every guy at 50 has the face he deserves. In space and time, there's absolutely not any 50-year-old face. Everything is a toggle option that wipes out the previous smiles or frowns and obliterates"bad" or"wrong" choices. Since all evidence of it is concurrently destroyable and retrievable in a computer image, of course, there exists the concept of a mistake. The image does not have any wrinkles when we take away the ability to make a error in art, one which can not be wiped out. It carries a thin, stiff veneer, such as the continuously stretched faces of 65-year-old Park Avenue matrons. In a glance, those women look fine. But a look yields that are longer blankness. It is through our errors and, indeed, our sins, both in art and in life, we get the capacity for improvisation and redemption.

Before modernism, painting was the noise in the culture, since it attracted attention. Now, the culture is the noise, and painting -- notably abstract painting -- attracts little attention in the art world or in the culture at large. Today painting's saving virtue is that it provides us quiet, not sound. A cultural catastrophe is at the end of the 20th century: the continuous flux of everything, and the passing of stillness. Our culture cans not alter, but neither may installation art, computer art, nor new-media attempts at appropriation, no matter how savvy and smart they are. Those art forms that the media that is appropriate are doomed to look worse, or forever pale in comparison to them, to be squeezed down to their black hole that is vast. Abstract painting's power is this: it's a world superbly separate from our postmodern, materialistic ironic, age that is stylish.

Laurie Fendrich is an associate professor of fine arts at Hofstra University.

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I have been an abstract painter for about 25 years, and have taught drawing and painting to undergraduates for almost as long.

From both perspectives, I've concluded that painting, in terms of its influence on contemporary culture, has been marginalized -- it is a wallflower at the postmodern art celebration.

Just take a prominent example of painting's situation as we approach the 21st century: The lists of last year's finalists for the modern art world's two Oscar-like awards -- the Turner Prize, in Britain, and the Hugo Boss Prize, handed out from the Guggenheim Museum -- included not a single painter. In actuality, among non-painters, painters and many artists alike, it is quietly acknowledged that painting's impact on the culture is nil. Painting is viewed as an esoteric activity for a few diehards. At worst, it's considered destructively elitist, a part of the"oppressor culture" of dead white European men. The public -- attached to television films, and computers -- barely registers painting as having anything relevant to say. The only question left is if there is any audience at all for painting and, if there is, how to preserve it.

This essay is a defense of abstract painting, painting's most difficult to understand and seemingly irrelevant sort that exists. By limiting my topic to abstract painting -- which concentrates on structure and builds an entire flat reality from color, surface, shape, traces of the hand, mistakes, and changes -- I can best address the question of why anybody should continue to create paintings, when so many more visually powerful websites are available.

In safeguarding abstract painting, I need to first toss overboard some excess baggage. I take the iconoclastic abstract painter Ad Reinhardt, who believed that the other Abstract Expressionists in the 1940s and'50s' claims amounted to poppycock. To give painting back its dignity, he set forth, both in his own paintings and in a collection of"dogmatic" statements, what abstract painting is not. Allow me, in the spirit of Ad Reinhardt, to set forth my list of what painting isn't:

First, abstract painting isn't a vehicle for social or political change, even if its pioneers thought it was. Today, even more than in Reinhardt's day, if a figurative painter paints a picture that asserts a particular social or political point of view, its impact -- in a society flooded with books, magazines, papers, photos, movies, tv, video, and computers -- is ridiculously small. The chances are fewer with painting.

Second painting isn't avant-garde. It isn't anymore, although it was in 1915. In terms of its capacity to shock anybody -- the rallying cry of the avant-garde that is now-defunct -- painting today is weak in comparison to the ability of the media mentioned previously.

Abstract painting hasn't been, and most likely never will be, widely popular. Yes, its leaders -- Kandinsky, Malevich, Mondrian held utopian hopes for its appeal, but they were demonstrated poignantly wrong.

Abstract painting can't offer much of what we call Deep Hidden Meaning, in the way that religion or philosophy can. Put abstract painting cannot provide a substitute for God -- the loss of whom is the earmark of modernism. Indeed, the ability of abstract painting to move people at all is much weaker than that of other arts, such as books, theater, music, or poetry.

On the other hand to continue in a spirit than that of Reinhardt -- here's what abstract painting can do:

It offers what I'll call Little Hidden Meaning. To a viewer that can look at a still picture (for some, a difficult prospect), and who's knowledgeable enough to place an abstract painting in the context of contemporary art as a whole, abstract painting offers a de facto philosophical point of view on life. A mistaken belief is, coming from our own age, that abstraction is about self-expression and from our lingering attachment to Romanticism. In the broadest sense it's, of course, but it's also about ideas -- the complex struggle between order and chaos, by way of instance, or the way the flux of the natural world influences the rigor of geometry.

Secondly painting can empower us to be quiet. Painting makes allowing for a slow waltz.

Third art offers a counter to our society's glut of items. An abstract painting is a part of the material world, a thing, of course. But it reminds people of a planet without things. It suggests the old idea, now barely remembered, that there may be a hidden, underlying order, which the transience of life's items can't affect.

Artists from the arrival of modernism on have substituted the pursuit of truth for the pursuit of beauty -- reality in perception, truth in shape, truth in substances. Many artists -- rightly -- are leery of the very idea of the gorgeous, because it so readily petrifies into some rigid standard. Once locked into place,"attractiveness" obliterates the wide selection of subtle variations inside. Additionally, politics surrounds beauty, making the topic difficult to talk directly: For many, notions of the beautiful are simply"cultural constructs," used by dominant cultures to suppress"the Other."

Most problematic of all, hidden within the notion of attractiveness and folded up are values that are conflicting. Beauty implies an inequality from the way things look. There's ugliness, and everything else in between, if there is beauty.

However, some people can not help their"elitist," or meritocratic, impulses when it comes to aesthetics, and are struck dumb by how utterly beautiful an abstract painting can be.

A fifth virtue of abstract painting is that it is not a story, especially not one from the most easily accessible facet of culture, which is all tales. We are bombarded with endless tales -- in television shows, advertisements, novels, movies, and virtual-reality games. We are always teaching and preaching, persuading and dissuading, by means of telling stories. Picking up on that facet of our culture, many non-abstract painters have inserted stories, or"narratives," in their paintings. But abstract painting resists narration and presents itself at once, as a whole or a oneness that can't, and never will, tell a story.

A virtue of abstract painting is its very uncamera-like nature. Before long, people will see the world only digitally.

It defies translation into data, information, entertainment, rational image, or any type of narrative. In the midst of a world where everything we see is morphing into something else, abstract painting is among the few things left that allow us to observe the possibility of something's remaining constant.

If what I'm saying about the virtues of abstract painting is accurate, then why is not there more interest in this art? It won't do to start listing all of the abstract painters around, since the point is that few people pay much attention to them, compared with either figurative artists in general, or new-media artists working with sound and video installations. Yes, abstract painters still exist, but they're an aging lot, for the most part ignored. More worrisome is the seeming absence of a new generation of youthful and enthusiastic abstract painters. How can it be that abstract painting, a major player in most of 20th-century art, has arrived at this sorry point, where it is barely a contender?

The invention of photography allowed anyone, even someone who had no painting or drawing skills, to resolve a picture of the real world on a flat surface quickly and correctly. The painter suddenly seemed slow and insignificant in his method of replicating the look of reality.

More significant, photography threw into question the entire raison d'etre of painting. For if the camera was recording the world objectively through light rays bouncing off objects, then painting, in contrast, looked subjective, even fictive. If painters couldn't compete with the camera in mimicking reality, they would assert an alternative objective reality: All individual perceptions are true -- at least to the perceiver -- and therefore equally valid.

It was a shift from effect, which depended on artifice -- that is, faking, telling lies -- to aesthetic intent, which depended on telling the truth, as being sincere known by artists.

But what -- in this kaleidoscope of individual"truths" -- would become of beauty? After Darwin and Freud, artists didn't concern themselves with beauty anymore, except as a byproduct, or an aside, since they played and manipulated with form. Philosophy tried to come forth with a solution. It would protect beauty by separating it from destructive scientific analysis, and leave it alone as a"subjective" judgment. Philosophy yielded its position to science as interpreter of the world. Science broke leaving everything behind, as abstract rubble, including philosophy that was poor. That rubble reconstituted itself as relativism's stuff -- the notion that aesthetic and moral judgments are subject to flux. Relativism had been around at least since Plato, of course, but the age marked the victory of the position.

The hatchet man of relativism is irony. To condense an awful lot of the history of 20th-century artwork into one sentence: The past 80 years have consisted essentially of a battle between the ironists, who have reveled in the impossibility of universal truths, and the holdout universalists, who have tried to rebuild classical philosophical truths in a modern visual language. It's been Duchamp versus Mondrian. And Duchamp is the winner -- although forfeit than by knockout.

It took Duchamp some time to win. Until then, when Pop Art burst Abstract Expressionism's bubble, it'd been coasting on its inflated standing; at that point, Pop Art sprouted in the smart, witty seed which Duchamp had implanted a half-century earlier. Pop Art consisted mainly of paintings on canvas to be certain. But they were self-destructive. Painting had always been profoundly centered on the artist's signature, but painting worried picture or the content.

Since World War II, our civilization has steadily evolved into what we recognize as"mass culture" -- one in which millions of people's interests are concurrently and gratified through popular music, movies, sports, and celebrities. Fewer and fewer people care no more about the strange, slow abstract oil painting gallery virtosuart.com action called painting. Starting in early'70s and the late'60s artists, drawn to installation, performance, and video art's art forms, abandoned painting. They had grown up with TV and rock'n' roll; they were stylish, smart, and sharp; they understood and embraced the seductiveness and power of popular culture, and they wanted in on it.

We have arrived at a division in the art world: hip and trendy on the 1 hand, reclusive and out-of-it on the other. How do continue in the face of that?

They must separate themselves rather than try to become players. Abstract painters need to become, philosophically speaking, difficult and cantankerous, because to survive, they have to reassert the distinction -- discredited by postmodernists -- between"high" art and"low" art. They have to reargue the case for art -- an art requiring a subtle, sensitive, experienced, and even exceptional viewer. Artists are currently creating paintings that cannot be understood by everybody. They need to admit this to find meaning in abstract painting takes some work, and even some help.

And abstract painters need to observe loudly, rather than apologize for, the artwork's nature. The revolution itself -- the early-modern moment that invented abstraction -- must have been electrifying, but that moment is over. For their viewers and contemporary painters, the experience is profoundly different from what it was due to their forebears. Art is a pleasure as opposed to a dizzying thrill. The conventions are created, just as in baseball, and to derive pleasure from abstraction requires accepting its fundamental rules rather than deconstructing them.

Yes art is elitist, and abstract artists must be up-front about that. However, like and you don't have to stop loving The X-Files or the fights to understand art. Nor do you have to be a white male of royal blood. Yes, it is a product of culture, but are computers, planes, penicillin, and this essay. There are painters, and patrons of painting, of both genders and all races.

Today, many, if not most artists trying to get up a rung on the art-world ladder don't care one whit about painting or its own heritage in history. The issue for them is much more identity than aesthetics, although many young artists refer to their racial heritage in their artwork. The point is, most young artists (whatever their race or gender ) prefer to view history, especially art history, as a enormous amount of information that at times is helpful for rummaging around in for ironic references, but which mostly is a pain in the neck and best left ignored.

One premise: It's history, used correctly, that divides us can be taken from him by us, if we pull back from the abyss of Nietzsche's picture of our condition. But what is the right use of history? People today distrust it. They wish to know who's doing the telling and why, because they are convinced that understanding is a smokescreen for power.

Unfortunately it's only when visual history's non-ironic use is coupled with the desire that is specific to produce images that the young artist, in particular, can learn the language of images and the meaning of painting. Regardless of what, some people -- even some artists -- will not"get" abstract painting, for reasons that vary in their belief that all art is political for their inferior visual aptitude. In the long run, abstract painting will attract an audience more likely to read the Aeneid in Latin than to watch Sarah McLachlan on MTV.

But small because its audience may be, abstract painting can say something. Their paintings aren't started by abstract painters . They build on the foundation of abstraction that is historical. Paintings are caused by an accumulation of wrong turns, errors, corrections, and settlements. Painters paint the way all of us lead our lives -- rebelling against the choices and the givens, the purposeful actions and the accidents and building on. An abstract painting, then, offers the perfect visual metaphor for life.

George Orwell said that each and every guy at 50 has. In virtual space and time, there is not any 50-year-old face. Everything is a toggle option that wipes out the previous smiles or frowns and obliterates"bad" or"wrong" choices. In a computer image, of course, there exists the notion of a mistake, since all evidence of it is simultaneously retrievable and destroyable. The image does not have any wrinkles when we remove the ability to make a real error in art, one that can't be wiped out. It carries only a veneer, such as the continuously stretched faces of Park Avenue matrons. At a glance, those women look quite nice. But a longer appearance yields blankness. It is through our sins, our errors and, indeed, both in life and in art, that we gain the capacity for improvisation and redemption.

Since attention was attracted by it, painting was the sound in the culture. The culture is the sound, and painting -- notably painting -- attracts little attention, either in the art world or in the culture at large. Abstract painting's saving virtue is that it offers us silent, not noise. There is indeed a cultural crisis at the end of the 20th century: the continuous flux of everything, and the death of stillness. Abstract painting cannot alter our culture, but neither may setup art nor new-media attempts at appropriation, no matter how informed and smart they are. Those art forms that the popular media that is appropriate are doomed to look forever pale compared to them, or worse, to be squeezed down to their enormous hole. The power of abstract painting is this: It is a world beautifully separate from our postmodern, materialistic, morphing, ironic, age that is stylish.

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I have been an abstract painter for about 25 years, and have taught painting and drawing to undergraduates for almost as long.

From both perspectives, I've concluded that painting, in terms of its influence on modern culture, continues to be marginalized -- it is a wallflower at the postmodern art party.

Just take a prominent example of painting's situation as we approach the 21st century: The lists of last year's finalists for the contemporary art world's two Oscar-like awards -- the Turner Prize, in Britain, and the Hugo Boss Prize, handed out by the Guggenheim Museum -- included not one painter. In fact, among painters, many artists and non-painters alike, it is quietly acknowledged that the effect on the culture of painting is nil. Painting is seen as, at best, an activity for a few diehards. At worst, it's considered destructively elitist, a portion of the"oppressor culture" of dead white European men. The public -- attached to movies, television, and computers -- barely registers painting . The only question left is if there's any audience at all for painting and, even if there is, the way to preserve it.

This essay is a defense of abstract painting, painting's irrelevant and most difficult to understand kind that exists. By limiting my topic to abstract painting -- which focuses on structure and builds a whole flat reality from color, surface, shape, traces of the hand, mistakes, and changes -- I can best deal with the question of why anybody should continue to make paintings, when so many more visually powerful websites are available.

In safeguarding abstract painting, I need to first toss overboard some excess baggage. I take as my model the iconoclastic abstract painter Ad Reinhardt, who thought that the claims of the other Abstract Expressionists in'50s and the 1940s abstract art painting gallery virtosuart.com amounted to poppycock. To provide painting back its dignity, he set forth, both in his own paintings and in a collection of"dogmatic" statements, what abstract painting isn't. Allow me, in the spirit of Ad Reinhardt, to set my list of what painting isn't forth:

First, abstract painting is not a vehicle for political or social change, even though its pioneers thought it was. Today, even more than in Reinhardt's day, if a figurative painter paints a picture that argues a particular social or political point of view, its effect -- in a society flooded with books, magazines, papers, photos, movies, tv, video, and computers -- is ridiculously tiny. The possibilities are even fewer with abstract painting.

Second, abstract painting isn't avant-garde. It was in 1915, but it is. With regard to its capacity to shock anybody -- the rallying cry of the now-defunct avant-garde -- painting today is feeble when compared with the power of the media.

Third painting hasn't been, and likely never will be, broadly popular. Yes, its pioneers -- Malevich, Kandinsky, Mondrian held utopian hopes for its appeal, but they were proved poignantly wrong.

Abstract painting can't offer you a lot of what we call Deep Hidden Meaning, in the way that religion or philosophy can. Put bluntly, abstract painting cannot provide a replacement for God -- the reduction of whom is the earmark of modernism. The ability of painting to move people at all is much weaker than that of other arts, such as theater, music, novels, or poetry.

To keep in a soul than that of Reinhardt -- here is what abstract painting can do:

It provides what I'll call Small Hidden Meaning. To a viewer who can look at a still picture (for some, a difficult prospect), and who's knowledgeable enough to put an abstract painting in the context of contemporary art as a whole, abstract painting offers a de facto philosophical point of view on life. A mistaken belief is, coming from our lingering attachment and out of our own narcissistic age, that abstraction is about self-expression. In the broadest sense it's, of course, but it's also about ideas -- that the complex battle between order and chaos, by way of instance, or the way the flux of the organic world influences the rigor of geometry.

Secondly painting can empower us to be silent. From the 1989 French movie The Little Thief, a character attracted a roomful of people dancing wildly to stone'n' roll to a standstill by bellowing at them to be quiet so that he and his wife could dance a slow waltz. Abstract painting makes for a room in the arts, allowing for a slow waltz.

Third, abstract art provides a counter to our society's glut of things. An abstract painting is a thing, of course, a part of the material world. But it reminds people of a world without things. It suggests the old idea, now hardly remembered, that there may be a hidden, underlying order, which the transience of life's things can not affect.

Fourth, abstract painting can be quite simply, beautiful -- although that assertion is subject to tremendous dispute. Artists from the arrival of modernism on have substituted the pursuit of truth for the pursuit of beauty -- reality in perception, truth in form, truth in substances. Many artists -- rightly -- are leery of the very idea of this gorgeous, as it so readily petrifies into some rigid standard. Once locked into place,"beauty" obliterates the wide array of subtle variations within it. Additionally, politics encircles beauty, making the topic difficult to talk directly: For many, notions of the beautiful are simply"cultural constructs," used by dominant cultures to suppress"the Other."

Most problematic of all, hidden within the notion of beauty and folded up are values. Beauty implies an inequality in how things look. There is everything in between, and ugliness, if there is beauty.

However, some people can not help their"elitist," or meritocratic, impulses when it comes to aesthetics, and are struck dumb by how utterly beautiful an abstract painting can be.

A fifth virtue of abstract painting is that it's not a story, especially none from the most readily accessible side of culture, which is all stories. We're bombarded by endless stories -- in television shows, advertisements, novels, movies, and virtual-reality games. By way of telling stories we are constantly teaching and preaching, persuading and dissuading. Picking up on that facet of our culture, many non-abstract painters have added stories, or"narratives," into their paintings.

A virtue of painting is its very uncamera-like nature.

What abstract painting provides us in the end of the 20th century is, in sum, a useless non-story, a non-blinking"thereness," with reference to anything other than itself and its own heritage. It defies translation into information, information, entertainment, rational image, or any kind of narrative. It presents an ineffable balance of sensation, experience, and knowledge. In the middle of a world in which everything we see is morphing into something different, abstract painting is one of the few things left that enable us to see the prospect of something's remaining constant.

If what I'm saying about the virtues of abstract painting is true, then why isn't there more interest in this artwork? It won't do to start listing all of the abstract painters around, since the point is that few people pay much attention to them, compared with either figurative artists in general, or new-media artists working with sound and video installations. Yes, abstract painters still exist, however they're an aging bunch, for the most part ignored. More worrisome is the seeming absence of a new generation of youthful and enthusiastic abstract painters. How is it that abstract painting, a significant participant in most of 20th-century art, has arrived at this sorry point, where it's barely a contender?

And how is it that painting in general, not just abstract painting, has arrived at this point?

I suggest that the answer is rooted in two irrevocable changes that took place in the 19th century: First, the invention of photography, in 1839, and second, the general upheaval in philosophy. The invention of photography allowed anybody, even someone who had no painting or drawing skills, to fix a picture of the real world on a flat surface quickly and accurately. The painter suddenly seemed slow and insignificant in his way of replicating the look of reality.

More significant, photography threw into question the entire raison d'etre of painting. For if the camera was recording the world objectively through light rays bouncing off objects, then painting, in contrast, looked subjective, even fictive. If painters could not compete with the camera in mimicking fact, they would assert an alternative objective truth: All individual perceptions are true -- at least to the perceiver -- and therefore equally valid. Impressionist artists in the 1870s and 1880s, for all their stylistic differences, shared the conviction that it was the individual artist's vision that was objectively true.

Telling the truth about human perception (Impressionism) quickly broadened to become telling the facts about individual feelings (Expressionism), reaffirming the fact that a major shift had occurred. It was a change from aesthetic impact, which relied on artifice -- which is, faking, telling to aesthetic intent, which relied on telling the truth, known by artists as being sincere.

Artists did not concern themselves with beauty , except as a byproduct, or an aside, as they manipulated and played with form. Philosophy yielded its position as objective interpreter of the world. Science subsequently broke leaving everything else behind, as abstract rubble, including poor doctrine. This rubble reconstituted itself as relativism's stuff -- the notion that moral and aesthetic judgments are subject to flux. Relativism had been around at least since Plato, of course, but the age marked the victory of the position.

The hatchet man of relativism is irony. To condense an awful lot of the history of 20th-century art into a single sentence: The past 80 years have consisted essentially of a struggle between the ironists, who have reveled in the impossibility of universal truths, and the holdout universalists, who have tried to rebuild classical philosophical truths in a contemporary visual language. It's been Duchamp versus Mondrian. Although sacrifice -- and Duchamp is the winner.

It required Duchamp a while to win -- until the 1960s. Until then, when Pop Art burst Abstract Expressionism's bubble, it had been coasting on its inflated reputation; at that point, Pop Art sprouted from the smart, witty seed that Duchamp had implanted a half-century earlier. Pop Art consisted of paintings on canvas, to be sure. However, they were self-destructive. Pop Art's implied message was that it was the appropriated images that counted -- the Campbell's soup cans, Marilyn Monroe -- rather than the way in which paint was put on the canvas. Painting had always been profoundly centered on the artist's signature, but now painting concerned picture or the content.

Since World War II, our civilization has steadily evolved into what we recognize as"mass culture" -- one where millions of people's interests are simultaneously and gratified through popular music, movies, sports, and actors. Fewer and fewer people care about the strange activity called painting. Beginning in early'70s and the late'60s , young musicians, drawn to the art forms of installation, performance, and video art, abandoned painting in droves. They had grown up with TV and stone'n' roster; they were hip, smart, and eloquent; they understood and embraced the seductiveness and power of popular culture, and they wanted in on it.

We reclusive and out-of-it and trendy on the 1 hand, have arrived at a branch in the art world: hip on the other. How can continue in the face of that?

They must aggressively separate themselves rather than try to become bit players. Abstract painters need to become, philosophically speaking, difficult and cantankerous, because to survive, they must reassert the distinction -- discredited by postmodernists -- between"high" art and"low" art. They must reargue the case for art -- an art requiring a subtle, sensitive, experienced, and even exceptional viewer. Abstract artists are currently making paintings that can't be understood by everybody. They need to admit that to find meaning in abstract painting requires some work, and even some aid.

And abstract painters ought to celebrate loudly, rather than apologize for, their artwork's convention-bound nature. These artists work within a rectangle, they use paint on canvas, and they follow a century of traditions of abstract painting. That moment is forever over, although the revolution itself -- the early-modern second that invented abstraction -- must have been electrifying. For their audiences and contemporary abstract painters, the experience is different from what it was due to their forebears. Abstract art is a pleasure rather than a thrill. The conventions are established, just as in baseball, and to derive pleasure from abstraction requires accepting its rules rather than always deconstructing them.

Yes art is elitist, and artists that are abstract must be up-front about that. However, like and you don't have to stop loving the struggles or The X-Files to understand abstract art. Nor do you need to be a white male of European blood. Yes, it's a product of culture, but are computers, airplanes, penicillin, and this essay. There are patrons of abstract painting, and painters, of both genders and all races.

Today, many, if not most, young artists trying to get a rung up don't care one whit about painting or its heritage in history. The issue for them is identity than aesthetics, although young, non-white artists indeed refer to their racial heritage in their artwork. The point is, most young artists (whatever their race or gender ) prefer to see history, especially art history, as a massive quantity of information that sometimes is useful for rummaging around in for ironic references, but which largely is a pain in the neck and best left ignored.

If we pull back from the abyss of Nietzsche's picture of our modern condition, we could take from him one premise: It's history, used that divides us from the lives of dogs, cats, and cows. But what is the right use of history? People today distrust it. Because they are convinced that understanding is a smokescreen for power they want to know why and who's doing the telling.

Unfortunately it's only when history's non-ironic use is coupled with the desire that is specific to produce images that the young artist, in particular, can learn the visual language of the meaning of abstract painting and painted images. No matter what, some people -- even some artists -- will never"get" abstract painting, for reasons that vary in their belief that all art is political to their inferior visual aptitude. In the end painting will attract an audience more likely than to watch Sarah McLachlan on MTV to read the Aeneid.

But small because its audience could be, abstract painting can, indeed, say something about contemporary culture. As a colleague of mine from Hofstra University, the late Michael Gordon (himself a painter), often argued, it sets up a strong moral parallel to the manner in which we lead our lives. Abstract painters don't begin their paintings . Instead, they build on the foundation of abstraction. Paintings are the result of an accumulation of wrong turns, mistakes, corrections, and resolutions. Painters paint the way rebelling against the givens and the choices, the purposeful actions and the injuries and building on. An abstract painting, then, offers the perfect visual metaphor for life.

George Orwell said that each and every guy at 50 has. In space and time, there's absolutely no 50-year-old face. Everything is a toggle choice that wipes out the previous smiles or frowns and obliterates"bad" or"wrong" choices. In a computer picture, of course, there no longer exists the concept of a mistake, since all evidence of it is simultaneously retrievable and destroyable. The image has no wrinkles, when we remove the ability to make a error in art, one which can't be wiped out. It carries only a veneer, such as the continuously stretched faces of 65-year-old Park Avenue matrons. In a glance, those women look quite fine. But a appearance yields blankness. It's through our sins our errors and, indeed, both in art and in life, that we get the capacity for improvisation and redemption that is possible.

Since attention was attracted by it before modernism, painting was the noise in the culture. Now, the culture is the sound, and painting -- notably painting -- attracts little attention, either in the culture at large or in the art world. The saving virtue of abstract painting is that it provides us silent, not noise today. There's indeed a crisis at the end of the 20th century: the continuous level of everything, and the death of stillness. Painting cannot change our culture, but neither can setup art, computer art, nor new-media attempts at appropriation, no matter how smart and savvy they are. Those art forms that appropriate the media are doomed to look worse, or pale compared to them, to be sucked down into their vast hole. The ability of painting is this: it's a world beautifully from our materialistic ironic, stylish age.

Laurie Fendrich is an associate professor of fine arts at Hofstra University.

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I have taught drawing and painting to undergraduates for nearly as long, and have been an abstract painter for around 25 years.

From both perspectives, I've concluded that painting, in terms of its influence on contemporary culture, continues to be marginalized.

Just take a prominent example of painting's situation as we approach the 21st century: The lists of last year's finalists for the contemporary art world's two Oscar-like awards -- the Turner Prize, in Britain, and the Hugo Boss Prize, handed out by the Guggenheim Museum -- included not a single painter. In fact, among non-painters, painters and many artists alike, it's quietly acknowledged that the effect on the culture of painting is nil. Painting is viewed as an activity for a few diehards. At worst, it's considered destructively elitist, a part of the"oppressor culture" of dead white European men. The public -- attached to television films, and computers registers painting as having anything relevant to say. The only question is whether there is any audience at all for painting and, even if there is to preserve it.

This essay is a defense of abstract painting, the hardest to comprehend and irrelevant sort of painting that exists. By restricting my subject to abstract painting -- that focuses on structure and builds an entire flat reality from colour, surface, shape, traces of the hand, mistakes, and adjustments -- I can best deal with the question of why anyone should continue to make paintings, when so many more visually powerful media are available.

In defending abstract painting, I need to first toss overboard some excess baggage. I take as my model the iconoclastic abstract painter Ad Reinhardt, who thought that the claims of the Abstract Expressionists in'50s and the 1940s amounted to poppycock. To provide painting back its dignity, he put forth, both in his own paintings and in a series of"dogmatic" statements, what abstract painting is not. Allow me, in the spirit of Ad Reinhardt, to set forth of what abstract painting is not my list:

Abstract painting is not a vehicle for social or political change, even though its leaders believed it was. Today, even more than in Reinhardt's day, if even a figurative painter paints a picture that asserts a particular social or political perspective, its effect -- in a society bombarded with books, magazines, papers, photographs, movies, tv, video, and computers -- is ridiculously tiny. The chances are even fewer with painting.

Abstract painting isn't avant-garde. It is, although it was in 1915. With regard to its capacity to shock anyone -- the rallying cry of the now-defunct avant-garde -- painting now is weak when compared with the power of the media mentioned previously.

Abstract painting hasn't been, and likely never will be popular. Yes, its leaders -- Malevich, Kandinsky, Mondrian held utopian hopes for its appeal, but they were demonstrated poignantly .

Finally painting cannot offer you a lot of what we call Deep Hidden Meaning, in how religion or philosophy can. Put bluntly painting can't provide a substitute for God -- the reduction of whom is the earmark of modernism. The ability of painting to move people at all is considerably weaker than that of other arts, such as theater, music, books, or poetry.

On the other hand -- to keep at a more moderate, but no less passionate spirit than that of Reinhardt -- here's what abstract painting could do:

First, it offers what I'll call Little Hidden Meaning. To a viewer who can look at a still picture (for some, a difficult prospect), and who's educated enough to place an abstract painting in the context of modern art as a whole, abstract painting provides a de facto philosophical viewpoint on life. There is a mistaken belief, coming from our own age, that abstraction is about self-expression and out of our lingering attachment to Romanticism. In the broadest sense it is, of course, but it's also about ideas -- the intricate struggle between order and chaos, for instance, or the way the flux of the natural world modifies the rigor of geometry.

Secondly, abstract painting can empower us to be quiet. From the 1989 French film The Little Thief, a character brought a roomful of people dancing wildly to rock'n' roster to a standstill by bellowing at them to be quiet so that he and his wife could dance a slow waltz. Abstract painting makes for a room in the arts, allowing for a slow waltz.

Third art provides a counter to our society's glut of things. An abstract painting is a thing, of course, part of the material world. However, it reminds people of a planet. It suggests the old idea, now barely remembered, that there might be a hidden, underlying order, which the transience of life's things can not affect.

Artists from the birth of modernism on have substituted the pursuit of truth for the pursuit of beauty -- truth in understanding, truth in form, truth in materials. Many artists -- rightly -- are suspicious of the very idea of this gorgeous, because it so readily petrifies into a rigid standard. Once locked into place,"beauty" obliterates the wide array of subtle variations within it. In addition, politics encircles beauty, making the topic difficult to talk directly: For many, notions of the beautiful are simply"cultural constructs," used by dominant cultures to suppress"the Other."

Most problematic of all, hidden within the notion of attractiveness and folded up are values. Beauty implies an inequality from how things look. If there is beauty, there's ugliness, and everything else in between.

A fifth virtue of abstract painting is that it is not a story, especially none from the most easily accessible side of civilization, which is all tales. We're bombarded with endless stories -- in television shows, advertisements, books, movies, and virtual-reality games. We're always teaching and preaching, persuading and dissuading, by means of telling stories. Picking up on that aspect of our culture, many non-abstract painters have inserted stories, or"narratives," into their paintings. But abstract painting resists narration and presents itself all at once, as a whole or a oneness that can't, and never will, tell a story.

A virtue of painting is its very uncamera-like, uncomputer-like nature.

It defies translation into information, information, entertainment, rational image, or any kind of narrative. It presents an ineffable balance of sensation, experience, and knowledge. In the middle of a world in which everything we see is morphing into something else, abstract painting is among the few things left that enable us to see the prospect of something's staying constant.

If what I'm saying about the virtues of abstract painting is true, then why isn't there more interest in this artwork? It won't do to start listing all of the abstract painters around, since the point is that few people pay much attention to them, compared with figurative artists in general, or new-media artists working with sound and video installations. Yes, abstract painters still exist, but they're an aging bunch, for the most part ignored. More worrisome is the seeming absence of a new generation of young and enthusiastic abstract painters. How can it be that abstract painting, a significant player in most of 20th-century art, has arrived at this sorry point, where it's barely a contender?

I suggest the answer is rooted in two irrevocable changes that happened in the 19th century: First, the invention of photography, in 1839, and second, the general upheaval in philosophy. The invention of photography enabled anyone, even someone who had no painting or drawing skills, to resolve a picture of the real world on a level surface quickly and accurately. The painter suddenly seemed slow and insignificant in his method of replicating the look of reality.

More significant, photography threw into question the entire raison d'etre of painting. For if the camera was recording the world objectively through light rays bouncing off objects, then painting, in contrast, looked subjective, even fictive. If painters couldn't compete with the camera in mimicking reality, they would argue an alternative objective truth: All individual perceptions are accurate -- to the perceiver -- and therefore equally valid. Impressionist artists in the 1870s and 1880s, for all their stylistic differences, shared the conviction that it was the individual artist's vision that was true.

Telling the truth about human perception (Impressionism) quickly broadened to become telling the truth about human feelings (Expressionism), reaffirming the fact that a significant shift had occurred. It was a change that is, faking, telling to aesthetic intent, which relied on telling the truth, as being sincere understood by artists.

But what -- in this kaleidoscope of individual"truths" -- would become of beauty? After Darwin and Freud, artists did not concern themselves with beauty anymore, except as a byproduct, or an aside, as they manipulated and played with form. Philosophy yielded its primary position as objective interpreter of the world to science. Science then broke loose, leaving everything else behind, including doctrine, as rubble that was abstract. This rubble reconstituted itself as relativism's substance -- the notion that moral and aesthetic judgments are subject to flux. Relativism was around at least since Plato, of course, but the age marked the success of the relativist position.

The hatchet man of relativism is irony. To condense an awful lot of the history of 20th-century art into a single sentence: The past 80 years have consisted basically of a struggle between the ironists, who have reveled in the impossibility of universal truths, and the holdout universalists, who have tried to reconstruct classical philosophical truths in a modern visual language. To put it differently, it's been Duchamp versus Mondrian. And Duchamp is the winner -- although sacrifice than by knockout.

It required Duchamp some time to win -- until the 1960s. Until then, when Pop Art burst Abstract Expressionism's bubble, it had been coasting on its inflated standing; at there, Pop Art sprouted in the smart, witty seed which Duchamp had planted a half-century earlier. By simultaneously mocking and celebrating the modern culture of"stuff," Pop made the abstract painter's self-absorbed escape look both elitist and silly. Pop Art consisted of paintings on canvas to be certain. However, they were self-destructive. Pop Art's implied message was that it was the appropriated images that counted -- the Campbell's soup cans, Marilyn Monroe -- and not the way in which paint was put on the canvas. Painting had been centered on the artist's touch, but now painting worried the content or image.

Since World War II, our civilization has steadily evolved to what we identify as"mass culture" -- one in which millions of people's interests are simultaneously and gratified through popular music, films, sports, and celebrities. Fewer and fewer people care any longer about the slow activity. Starting abstract art painting gallery in early'70s and the late'60s artists, attracted to the art forms of installation, performance, and video art, abandoned painting in droves. They had grown up with TV and rock'n' roll; they were stylish, smart, and eloquent; they knew and embraced the seductiveness and power of popular culture, and they wanted in on it.

We have arrived at a division in the art world: fashionable and trendy on the one hand, reclusive and out-of-it on the other. How can painters who need to have an effect on their culture remain at the face of that?

They have to aggressively separate themselves rather than strive to become players. They have to reargue the case for art -- an art requiring a viewer that is subtle, sensitive, experienced, and even exceptional. Abstract artists are making . They need to admit that to find meaning in abstract painting requires some work, and even some help.

And abstract painters need to celebrate loudly, rather than apologize for, the convention-bound character of their artwork. These artists work within a rectangle, they use paint on canvas, and they follow a century of developed traditions of painting. That moment is over, although the revolution itself -- the early-modern moment that invented abstraction -- must have been electrifying. For abstract painters and their viewers, the experience is profoundly different from what it was due to their revolutionary forebears. Art is a quiet pleasure as opposed to a thrill. The conventions are created, as in baseball, and to derive pleasure from abstraction requires accepting its rules rather than always deconstructing them.

Yes art is elitist, and artists must be up-front about that. However, you don't need to stop loving The X-Files or the struggles to understand and enjoy abstract art. Nor do you need to be a white male of European royal blood. Yes, it's a product of European culture, but so are penicillin, computers, planes, and this essay. There are patrons of painting, and abstract painters, of both genders and all races.

Today, many, if not most, young artists trying to get a rung up on the art-world ladder don't care one whit about painting or its heritage in history. In actuality, aside from the fashion for finding one's"roots," they are not interested in seeing history as something to belong to, or to be a part of, or to carry forward. The problem for them is much more identity than aesthetics although many young artists refer to their racial heritage in their art. The point is, most young artists (whatever their race or gender ) prefer to view history, especially art history, as a enormous quantity of information that sometimes is useful for rummaging around in for ironic references, but which largely is a pain in the neck and best left ignored.

One viable premise: It's history, used correctly can be taken from him by us, if we pull back from the abyss of Nietzsche's picture of our modern condition. But what is the right use of history? People today distrust it. They wish to know and who is doing the telling, since they're convinced that knowledge is a smokescreen for power.

Unfortunately it is only when the non-ironic use of history is coupled with the desire to produce images that the artist, in particular, can learn the language of the meaning of abstract painting and painted abstract images. Regardless of what, some people -- even some artists -- will not"get" abstract painting, for reasons that range in their belief that all art is political to their inferior visual aptitude. In the end painting will attract an audience more likely than to watch Sarah McLachlan on MTV, to read the Aeneid in Latin.

But small because its audience could be painting can say something about contemporary culture. As a colleague of mine from Hofstra University, the late Michael Gordon (himself a painter), often contended, it sets up a strong moral parallel to the way in which we lead our lives. Painters do not begin their paintings . They build on the foundation of abstraction. Individual paintings are caused by an accumulation of wrong turns mistakes, corrections, and settlements. Abstract painters paint the way all of us lead our lives -- building on and rebelling against the givens and the choices, the purposeful actions and the injuries. An abstract painting, then, offers the perfect metaphor for life.

George Orwell said that each and every guy at 50 has. In space and virtual time, there's absolutely not any 50-year-old face. In a computer image, of course, there no longer exists even the concept of a mistake, because all evidence of it is destroyable and retrievable. The last image has no wrinkles, when we take away the ability to make a error in art, one which can't be wiped out. It carries only a veneer, like the continuously lifted, stretched faces of Park Avenue matrons. In a glance, those women look quite nice. But a longer look yields blankness. It is through our sins our mistakes and, indeed, both in art and in life, we get the capacity for redemption and improvisation.

Painting was the noise in the culture, because it attracted attention. Now, the culture is the sound, and painting -- notably abstract painting -- attracts little attention, either in the art world or in the culture at large. Abstract painting's saving virtue is that it offers us quiet, not noise today. There's indeed the continuous flux of everything a catastrophe at the end of the century, and the passing of stillness. Painting can not alter our culture, but neither can setup art nor attempts at appropriation, no matter how informed and smart they are. Those art forms that the popular media that is appropriate are doomed to look worse, or pale compared to them, to be squeezed down to their black hole. The power of abstract painting is this: It is a world beautifully separate from our postmodern, materialistic, morphing, ironic, hip age.

Laurie Fendrich is an associate professor of fine arts at Hofstra University.

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I have been an abstract painter for about 25 years, and have taught painting and drawing to undergraduates for almost as long.

From both perspectives, I've concluded that painting, in terms of its influence on modern culture, has been marginalized -- it is a wallflower at the postmodern art party.

Just take a prominent example of painting's situation as we approach the 21st century: The lists of last year's finalists for the modern art world's two Oscar-like awards -- the Turner Prize, in Britain, and the Hugo Boss Prize, handed out from the Guggenheim Museum -- included not a single painter. In fact, among many artists, painters and non-painters alike, it is quietly acknowledged that the effect on the culture of painting is nil. Painting is viewed as, at best, an esoteric activity for a few diehards. At worst, it's considered destructively elitist, a portion of the"oppressor culture" of dead white European men. The general public -- attached to television, films, and computers -- barely registers painting as having anything relevant to say. The only question is whether there is any audience at all for painting and, if there is to preserve it.

This essay is a defense of abstract painting, the seemingly irrelevant and most difficult to comprehend kind of painting that exists. By restricting my topic to abstract painting -- that focuses on structure and builds a whole flat reality from color, surface, shape, traces of the hand, mistakes, and changes -- I can best deal with the question of why anybody should continue to create paintings, when so many more visually powerful media are available.

In defending abstract painting, I must toss overboard some extra baggage. I take the abstract painter Ad Reinhardt, who believed that the other Abstract Expressionists in the 1940s and'50s' claims amounted to poppycock. To give painting back its dignity, he set forth, both in his own paintings and in a collection of"dogmatic" statements, exactly what abstract painting is not. Allow me, in the spirit of Ad Reinhardt, to put forth of what abstract painting is not my own list:

Abstract painting isn't a vehicle for social or political change, even though its leaders believed it was. Today, even more than in Reinhardt's day, if even a figurative painter paints a picture that argues a specific social or political point of view, its effect -- in a society bombarded with books, magazines, papers, photographs, movies, tv, video, and computers -- is ridiculously tiny. The possibilities are fewer with abstract painting.

Second, abstract painting isn't avant-garde. It was in 1915, but it is. With regard to its ability to shock anyone -- the rallying cry of the now-defunct avant-garde -- painting today is feeble in comparison to the power of the media.

Abstract painting has never been, and most likely never will be popular. Yes, its leaders -- Malevich, Kandinsky, Mondrian -- all held utopian hopes for its appeal, but they have been proved wrong. Abstract painting turned out to be too subtle, too self-referential, too slow, too demanding of the viewer's patience, and too easy to poke fun at ever to attract a mass audience.

Finally, abstract painting can't offer you much of what we call Deep Hidden Meaning, in how philosophy or religion can. Put abstract painting cannot provide a replacement for God -- of whom is the earmark of modernism, the loss. Indeed, the ability of painting to move people at all is considerably weaker than that of other arts, such as poetry, theater, books, or music.

To keep in a more moderate, but no less passionate spirit than that of Reinhardt -- here is what painting could do:

First, it offers what I'll call Little Hidden Meaning. To a viewer that can look at a still image (for some, a tricky prospect), and who's educated enough to put an abstract painting in the context of contemporary art as a whole, abstract painting provides a de facto philosophical viewpoint on life. A mistaken notion is, coming from our attachment to Romanticism and from our own age, that abstraction is about self-expression. In the broadest sense it's, of course, but it's also about ideas -- the intricate battle between order and chaos, for instance, or the way the flux of the organic world influences the rigor of geometry.

Second, abstract painting can empower us to be silent. From the 1989 French movie The Little Thief, a character brought a roomful of people dancing wildly to stone'n' roster to a standstill by bellowing at them to be quiet so that he and his wife could dance a slow waltz. Painting makes for a room in the arts, allowing for a slow waltz.

Third, abstract art offers a counter to our society's glut of things. An abstract painting is itself a thing, of course. However, it reminds people of a world without things. It suggests the old concept, now barely remembered, that there might be a hidden, underlying order, which the transience of life's things can't affect.

Artists from the arrival of modernism on have substituted the pursuit of truth for the pursuit of beauty -- truth in understanding, truth in form, truth in materials. Many artists -- rightly -- are suspicious of the very idea of the gorgeous, as it so readily petrifies into a rigid standard. Once locked into place,"attractiveness" obliterates the wide selection of subtle variations inside.

Most baffling of all, hidden within the notion of attractiveness and folded up are values. Beauty implies an inequality from the way things look. If there's beauty, there's ugliness, and everything in between. That kind of ranking offends our democratic sense of justice, because we moderns have defined justice as that which most closely approximates equality.

But some people can't help their"elitist," or meritocratic, impulses when it comes to aesthetics, and are struck dumb by how utterly amazing an abstract painting can be.

A fifth virtue of abstract painting is that it is not a story, particularly not one from the most easily accessible side of culture, which is all stories. We're bombarded by endless stories -- in television shows, advertisements, novels, movies, and virtual-reality games. By way of telling stories We're constantly teaching and preaching, persuading and dissuading. Picking up on that facet of our culture, many non-abstract painters have added stories, or"narratives," into their paintings.

A last virtue of painting is its very uncamera-like, uncomputer-like nature.

What abstract painting offers us in the end of the 20th century is, in sum, a useless non-story, a non-blinking"thereness," without reference to anything other than itself and its own tradition. It defies translation to information, information, entertainment, rational image, or any kind of narrative. It presents an ineffable equilibrium of sensation, experience, and knowledge. In the middle of a world in which everything we see is morphing into something different, abstract painting is one of the few things left that enable us to observe the prospect of something's remaining constant.

If what I am saying about the virtues of abstract painting is accurate, then why isn't there more interest in this art? It will not do to start listing all of the abstract painters around, since the point is that few people pay much attention to them, compared with figurative artists in general, or new-media artists working with sound and video installations. Yes, abstract painters still exist, but they're an aging lot, for the most part ignored. How is it that abstract painting, a major player in most of 20th-century art, has arrived at this sorry point, where it's barely a contender?

I suggest the answer is rooted in two irrevocable changes that took place in the 19th century: First, the invention of photography, in 1839, and second, the general upheaval in philosophy. The invention of photography allowed anyone, even someone who had no drawing or painting skills, to fix an image of the real world onto a level surface quickly and accurately. The painter suddenly seemed irrelevant and slow in his method of replicating the appearance of reality.

More important, photography threw into question the entire raison d'etre of painting. For if the camera was recording the world through light rays bouncing off objects, then painting, in contrast, looked subjective, even fictive. If painters could not compete with the camera in mimicking reality, they would argue an alternative objective truth: All individual perceptions are accurate -- to the perceiver -- and therefore equally valid.

Telling the truth about individual perception (Impressionism) quickly broadened to become telling the truth about human feelings (Expressionism), reaffirming the fact that a major shift had occurred. It was a shift from aesthetic impact, which relied on artifice -- which is, faking, telling lies -- to aesthetic intent, which relied on telling the truth, known by artists as being true.

But what -- in this kaleidoscope of individual"truths" -- would become of beauty? After Freud and Darwin, artists did not concern themselves with beauty anymore, except as an aside, or a byproduct, as they manipulated and played with form. It would protect beauty by separating it from destructive scientific analysis, and leave it alone as a"subjective" judgment. Philosophy yielded its primary position to science as interpreter of the world. Science broke leaving everything else behind, including philosophy that was poor, as subjective rubble. This rubble reconstituted itself as relativism's substance -- the notion that moral and aesthetic judgments are subject to continual flux. Relativism had been around at least since Plato, of course, but the age marked the victory of the position.

The relativist reply to any pretension to universal truth, beauty, or power is, in effect,"Oh, yeah?" The hatchet man of relativism is irony. To condense an awful lot of the background of 20th-century artwork into a single sentence: The past 80 years have consisted basically of a battle between the ironists, who have reveled in the impossibility of universal truths, and the holdout universalists, who've tried to reconstruct classical philosophical truths in a modern visual language. In other words, it's been Duchamp versus Mondrian. And Duchamp is the winner -- although more by forfeit.

It took Duchamp some time to win -- until the 1960s. Until then, when Pop Art burst Abstract Expressionism's bubble, it'd been coasting on its inflated reputation; at there, Pop Art sprouted from the smart, witty seed that Duchamp had planted a half-century earlier. Pop Art consisted of paintings on canvas, to be certain. But they were self-destructive. Pop Art's implied message was that it was the appropriated images that counted -- the Campbell's soup cans, Marilyn Monroe -- rather than the way in which paint was put on the canvas. Painting had been profoundly centered on the artist's touch, but now painting worried picture or the content.

Since World War II, our culture has steadily evolved to what we identify as"mass culture" -- one in which millions of people's interests are concurrently and speedily gratified through popular music, movies, sports, and celebrities. Fewer and fewer people care about the strange, slow action called painting. Beginning in early'70s and the late'60s artists, attracted to the art forms of installation, performance, and video art, abandoned painting. They'd grown up with TV and stone'n' roll; they were hip, smart, and eloquent; they understood and embraced the seductiveness and power of popular culture, and they wanted in on it.

We have arrived at a branch in the art world: fashionable and trendy on the one hand, reclusive and out-of-it on the other. How can painters who need to have an effect on their culture continue in the face of that?

They have to distinguish themselves rather than try to be bit players. They have to reargue the case for art -- an art requiring a subtle, sensitive, experienced, and even exceptional viewer. Abstract artists are creating paintings that can't be understood by everybody. They need to admit that to find meaning in abstract painting requires some work, and even some aid.

And painters ought to observe loudly, rather than apologize for, the convention-bound nature of their art. The revolution itself -- the moment that invented abstraction -- must have been electrifying, but that moment is over. For abstract painters and their audiences, the experience is profoundly different from what it had been for their revolutionary forebears. Abstract art is a quiet pleasure rather than a dizzying thrill. The conventions are established, as in baseball, and to derive pleasure from abstraction requires accepting its fundamental rules rather than always deconstructing them.

Yes, abstract art is elitist, and artists that are abstract must be upfront about that. However, you don't have to stop loving the fights or The X-Files to understand and like art. Nor do you need to be a white male of European royal blood. Yes, it is a product of European culture, but are penicillin, computers, planes, and this essay. There are abstract painters, and patrons of abstract painting, of all races and both genders.

Today, many, if not most artists hoping to get a rung up don't care one whit about painting or its tradition in Western history. In actuality, aside from the fashion for finding one's"roots," that they aren't interested in seeing history as something to belong to, or to be a part of, or to proceed. The problem for them is identity than aesthetics, although a lot of young, non-white artists indeed refer to their own racial heritage in their artwork. The point is, most young musicians (whatever their race or sex) prefer to see history, especially art history, as a massive quantity of information that sometimes is helpful for rummaging around in for ironic references, but which mostly is a pain in the neck and best left ignored.

One premise: It's history, used that divides us from the lives of dogs, cats, and cows can be taken from him by us, if we pull back from the abyss of Nietzsche's image of our condition. But what, exactly, is the use of history? People now emphasise it. Because they are convinced that knowledge is a smokescreen for power they want to know why and who is doing the telling.

Unfortunately it's only when visual history's true, non-ironic use is coupled with the desire that is specific to make images that the young artist, in particular, can learn the language of abstract painting's meaning and painted abstract graphics. No matter what, some people -- even some artists -- will never"get" abstract painting, for reasons that vary in their belief that all art is political for their poor visual aptitude. In the long run painting will attract an audience more likely to read the Aeneid than to see Sarah McLachlan on MTV.

But small because its audience may be, abstract painting can say something about modern culture. Their paintings aren't started by painters . Rather, they build on the foundation of historical abstraction. Paintings are caused by an accumulation of wrong turns, mistakes, corrections, and resolutions. Painters paint Check out this site the way we lead our lives -- rebelling against the choices and the givens, the actions that are purposeful and the injuries and building on. An abstract painting, then, offers the perfect metaphor for life.

George Orwell said that each and every man at 50 has. In space and virtual time, there is not any 50-year-old face. Everything is a toggle choice that wipes out the previous smiles or frowns and obliterates"bad" or"wrong" choices. In a computer picture, of course, there no longer exists even the concept of a mistake, because all evidence of it is destroyable and retrievable. The last image has no wrinkles when we take away the ability to make a mistake in art, one which can't be wiped out. It carries only a thin, stiff veneer, like the continuously stretched faces of 65-year-old Park Avenue matrons. At a glance, those ladies look fine. But a look yields blankness. It is through our sins, our mistakes and, indeed, both in art and in life, that we get the capacity for improvisation and redemption that is possible.

Because it attracted attention, before modernism, painting was the noise in the culture. The culture is the sound, and painting -- especially painting -- attracts attention, either in the art world or in the culture at large. Abstract painting's saving virtue is that it offers us silent, not noise today. There's indeed a catastrophe at the end of the century: the level of everything, and the passing of stillness. Our culture cans not alter, but neither may setup art nor attempts at appropriation, no matter how smart and informed they are. Those art forms that appropriate the popular media are doomed to seem forever pale compared to them, or worse, to be sucked down into their black hole that is enormous. Abstract painting's power is this: it's a world superbly separate from our materialistic, morphing, ironic, hip age.

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Original Kojie San soap uses natural Kojic acid as its active ingredient for providing exceptional skin lightening benefits. Kojic acid is used commonly in industrial production of cosmetic products and foods as a chelation agent. It helps in changing or preserving color of substances. In the field of cosmetics, it is used to lighten the color of the skin. The ingredient has antifungal and antibacterial properties and even attacks the growth of cancer cells.

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These are just the precautions that help ensure complete efficacy of the soap. If you use original Kojie San soap regularly and take the necessary precautions, you are likely to notice results in a matter of days. Regular use will definitely lighten your skin.

 

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