!!!MANIFESTO!!!

MANIFESTO
(for abstractionists and friends of the non-objective)

BE A FORCE

Don’t shoot blanks

Black and Brown: that shit is the future

Triangles are your friend

Don’t pretend you don’t work hard

When in doubt spray-paint it gold

Perverse formalism is your god

You are greased lightning

Bring your camera everywhere

Never stop looking at macrame, ceramics, supergraphics, and Suprematism

Make work that is so secret, so fantastic, so dramatically old school/new school that it looks like it was found in a shed, locked up since the 1940s

Wake up early, fear death

Whip out the masterpieces

Be out for blood

You are the master of your own universe

Abstraction never left, motherfuckers

If you can’t stop, don’t stop

Strive for the deeper structure

Fight monomania

Campaign against the literal

ABSTRACTION FOREVER!

images: http://www.renaissancesociety.org/site/Exhibitions/Images.Rebecca-Morris.36.html

Rebecca Morris’s commitment to abstraction lies somewhere between the poles of fierce and rabid, a prerequisite for coping with a pluralism arising not only from across disciplines but from within the discipline of painting itself. Abstraction is now a given, an option that is taken for granted as one chooses rather than fights to become an abstract painter. It is a choice, however, within a discipline that has become a field of specialization by virtue of taking on the characteristics of a language. If the closure of modernist painting is taken as the closure of painting itself, then under the aegis of postmodernism, painting’s history is a finite collection of styles readily offering itself up for quotation. In other words, paintings are read in and through reference to other paintings begging the question: once abstraction has acquired legibility is there such a thing as an abstract painting?

– Hamza Walker, from: http://www.renaissancesociety.org/site/Exhibitions/Essay.36.0.0.0.0.html

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