A victim of a Paint gold rush

The Painting medium became (by the 1980s) a victim of a Paint gold rush for the medium and would have burnt-out temporarily but was used as a power asset of cultural warfare to perpetuate the decline of the prevailing soviet credo, Marxist-Leninism. No wonder the Painting medium got a kicking by the West, it was being seconded to do a job on Sovietism! Yet ironically it had been a staunch defender of freedom against Soviet as well as Fascist 'hate Art criminality!' It had been victimized and made a pariah as Bourgeois narcissism by pseudo-Communist’s by Stalinist henchmen and accused of being 'degenerate' by Fascists as well as by the Nazi’s!!??! "Why discard Painting now," Because it could serve as a vessel to expose and to fragment Soviet doctrines like the Soviet Painting of Socialist realism - the narrative was meant to be that 'not only is Soviet Socialist realism' antiquated by Westernism, but the very more free and dynamic Western Modernist Art Painting was itself yesterday's news in its homeland in the West! 'You can't even catch-up with the 1930s Western Painting let alone the 1980s western version, and even that the West has abandoned for something 'more contemporary.!! The West was accusing Marxist-Leninists of being left in the cultural junk shop nearly as old as Tsarist Russian times by their own restrictive state centralized out of date Art! Obsession with control and doctrinal imposition meant that the Soviets have been overtaken by the Ferrari of Western post Painting and the new Conceptual Art' when you've run out of petrol driving a 1920s Lada! The Western Painting canon became officially dead whilst unofficially the proof and the poster of Soviet Chinese and Russian Soviet anachronism! It had become a western asset going undercover and given a narrative of being rejected by the West to see what damage it could do to the Soviets!

But we in the North of the European continent have ditched the ego of 'the genius' of the artist Painter and replaced it with graft! Today Painters Paint as a freedom from both infringement and censorship as well as exploring and facilitating the freedom to Paint what and how we want free of all personal inhibitions as well as free to not bastardize or use any controversy and celebrate our own footprint before us! We are not itemised or deindividualized, we are enjoying the canvas space more than ever! We aren't just carpe diem, we are not mea culpa!!! Yet we synchronize the full metric of 'taking up arms against a sea of troubles' and 'we are prepared 'to suffer the slings and arrows of outrageous fortune' wherever we can! Is it not the case that civilians and soldiers are equally subjected to bombardment with missiles and drones etc in today's wars, that Painters can Paint as civilians and as soldiers, both in their huddled corners of bomb shelters and sketching whenever they can spare their responsibilities as soldiers at the front and remind people of the Painter's humanity and the cultural values they are fighting to retain, whilst being under constant fear and under the strain of the brutality of broken basements and the trenches,?

Modernism may always have a place in the contemporary Art validation of our humanity because it straddles the anthropomorphic abstract of pre-European Renaissance Art from for example Australia. It can take the form of being beyond and before both Renaissance 3D painting in the 13 hundreds (Giotto) and Kandinsky's development into abstraction in the early 20th century that would eventually catch up with Aboriginal Art at the turn of the 20th century. Some say Kandinsky and Mondrian killed the medium of Painting then....no it only showed the touchlines of any pitch, but not what happens on it! But the Renaissance beginning in the 13th century was simply a rebirth of Greco/Roman perspective and anatomical classicism of 2 millennia before and not the beginning of Painting!! It was a rebirth! But today we have another Modernist Renaissance in our time, a very different one than both the 19th and 20th century versions! If we paint a new and progressive piece of architecture as we see it literally, it will look surreal or cubistic or expressionistic not because the Painter has distorted it by his/her imagination, but because that is what it literally looks like!?!? Perhaps it is not the emphasis on the Artist painter to create but to even just record...??? We can replicate and yet still let the image do the work!?! What is the object and how do we define the subject, There's a problem!! But how do you paint it then? ...need a metaphor? How do you visualise it then? Or not? You decide!