The Swag and the Swagger
Painters of artistic branding are treated as torch bearers of the state-of-the-art, while the less prominent agents of artistic and political nuance, are not. Thus, even if the object of art is understood in terms of its construction, the context is an underlying agenda of the story. How droll! -to think that we think we are beyond culture, but continue to mine the cultural, ethnic, and anthropological history of tradition. It is a hybrid of narrative and dialog feeding a meta-practice of validation. They are both aspects of looking, seeing, perceiving -and painting. In many places the transfer is in retrospect, as if viewing a perspective in a mirror, one that asks more questions than it answers, and each, essentially, the same as the other. Contingent on this relationship is the theory's constant evolution, and is, in any case, a premonition of a future collaboration, one in which development supercedes experience. The unconscionable timing and unrelenting historical process of revolution gives it a monstrous appearance. Strange! -to recall the traces of humanism, recalling a time in the past of vast walls of abstraction, propagandizing by a panorama of style, grace, and the perpetual repositioning, rearranging, and continuous unfolding, now, and forever, of multifarious confrontation. Acts of art that subvert the limits of painting, and the ambiguities of iconoclasm, go beyond practice. An ending definition of what is classified, and what is historical, and endures as the driving force of discourse, and must be, by now, an established fact.