Friday, March 19, 2010

Revolution That Came

Volume I, issue 1.

Revolution is raging in the land. There was no name worthy of it until now. Yet here it is: “NOVOREALISM."
It is a description of current and present, widely spread artistic movement functioning as a set of specific tools, philosophy and practice. As any major art movement in history - it is a common visual language based on a common worldview. As any language, it has its own rules – without knowing them you can still appreciate the music of the language but without comprehending its true meaning.

Yet, it is enormously democratic language. Realism is democratic in its understanding by being elitarian in its practice. That makes it direct opposite to modernist mode in art, which is democratic in execution, but pointedly and exclusively elitarian in its understanding that requires the authority of an “interpreter”. In modernist visuals the sacred cultural function is placed squarely within an “interpreter” or middle man, giving him power over both – artist and audience, creating inherently “oligarchic” system. In Realism – the sacred function placed firmly within an ARTIST and within the level of her or his abilities as a distinction between good and bad is quite clear to the audience in principle. Obvious populist pitfalls aside the primal difference lie within this self-evident nature.

We are witnessing the potent rise of “democratic” perception over “oligarchic” upon which the entire system of current art establishment is built. Therefore NOVOREALISM is inherently REVOLUTIONARY movement of our day, radically altering the function of the status quo.

NOVOREALISM is not a retrovert vision by any stretch of imagination. It is a forward-looking cultural thrust that chooses to stare in the eyes of reality and to reflect it in various forms. It is based on a civilization-long combined experience, knowledge and practice in understanding of human’s abilities to perceive the visual world. Its advance manifests the passage of techno-fascination in culture as rapid development and wide decimation of high technologies turning what used to be an act of “prime possession” into an endless and routine update of discardable household items. Their use became necessary if annoying. Nothing less, nothing more.

NOVOREALISM reflects a new-found fascination with the pinnacles of human’s own capabilities. The ultimate fascination with the most advanced and sophisticated system known to mankind – the human itself. NOVOREALISM is a hyper-humanistic movement at the age of disturbingly wide technological dependency. It is a defining edge in a cultural thrust of today.

Advance of Novorealism reflects the rising awareness of downsides to rapid modernization in our world designed for infinite consumption. As such it is a tool of human self-preservation.

NOVOREALISM is deeply rooted within sanctification of natural world under all out assault of modern consumerist society. In this way, much like important art movements of the past, it is an early reflection of the shifts in priorities for the society at large.

NOVOREALISM is a firm, essential and significant part of contemporary process in ART; it is a firm, essential and significant part in the ART of the FUTURE.

As a revolutionary movement why is it “altering” and not “changing” the status quo? It is because the entire cultural premise upon which the art world exists today has shifted.
NOVOREALISM is not striving for totalitarian aesthetic domination as every major /as opposite to local/ Art movement of the past did. Not only do we recognize, but we thrive on the new reality that there is no single, “one and only righteous” aesthetics of the day any longer. This new reality makes our existence possible. We collectively entered an inherently democratic aesthetically multi-polar world. This is the reality that will have to be inevitably realized by any institutional voice claiming credibility in observing objectively the actually occurring, contemporary shifts in today’s ART.

“CONTEMPORARY” itself, as a linguistic asset, cannot be used any longer as definition of any specific aesthetics, but only as a reflection of any relevant cultural process in present. Anything else shall be considered an improper “privatization” by vested financial interests of an ultimate public domain – our common language and an expression of a publicly inappropriate statement of cultural prejudice.

“CONTEMPORARY” by definition cannot be stack in the past. Calling Rothko and Warhol “contemporary” with all due appreciation of their historic significance is at present preposterous. They are dead.

Yet, this very multi-polarity is perhaps the single most important factor of our moment within cultural infinity, reflecting most significant change in our fundamental perceptions.

There is no single collectively righteous doctrine that somehow makes any of its participants automatically better than the rest; there are only individually righteous creators across the aesthetic board. Not recognizing that is self-serving act of cultural, not professional, exceptionalism, which is entirely inappropriate within our modern society. In this sense NOVOREALISM is an inherently modern movement.

There are plenty of hacks under any banners. We detest Kinkade as much as any modern museum curator does, may be even more so as it is much more personal for us. We cannot be blamed for his or for his kind’s commercialist sins just as much as true inner-city rebellious pushers of the medium cannot be blamed for super-commercialist hacks of Koons variety. Koons is a Kinkade of the official establishment.

Much the same, under any banner there are plenty of good middle ground participants and there are few “odd balls” sticking out by sticking stubbornly to what they truly believe in and by excelling in what they do way above and beyond average.

“Modernism” has lost its exclusivity on a cultural plane, not its place in it all together as both reflect the need for a sustainable balance within modernization - preservation - development equilibrium.

NOVOREALISM reflecting our contemporary reality – a major current aesthetic movement not claiming its cultural exclusivity and superiority, on the “ashes of the old”, but simply stating its being.

We, the Artists and Practitioners of our Religion, can and shall convey the rules of our language, its heritage and its future. We shall do it with all we’ve got, as ART does not stand half-measures or safe harbors. We shall do it in our thought, our word and our deed, the last one being the only thing that ultimately stands. We, the Artists of NOVOREALISM, shall paint first and foremost, worthy of an incredible place in history we find ourselves NOW.

Let’s wage the Revolution, lets wage True and Great to our very own measure ART!

Here is what I mean:

"Homebound" oil on canvas 60" x 72" by Steven Assael

"Maasai Woman" oil on canvas 36" X 24" by Scott Burdick

“Anna and Arturo” oil on canvas 42” X 60” by Jacob Collins

"Fragile Rose" Oil 44" x 68" by Rose Frantzen

"Man in Limited Palette" oil 12" x 12" by Ignat Ignatov

"The Last Sticks" oil on canvas 32" x 55" by Michael Klein

"Danielle" oil on canvas 40” X 30” by Jeremy Lipking

The Cycle of Terror and Tragedy: September 11, 2001 96” X 216” oil on canvas by Graydon Parrish

“Moonlight Dance” oil on canvas by Tony Pro

“The Persistent Dream of Youth” oil on canvas 120 x 72 inches by Christopher Pugliese

“Photographer. Lemuel” oil on canvas 60” X 36” by Alexey Steele