1. Color is as real as reality gets.

 

What this means is that color is the fundamental concept and/or structure of reality. If reality is a language, i.e. a series of languages from alpha to omega, it is by the concept of color that a language exists, namely without a division of color there are no symbols and/or language characters for that matter. It is the initial division of color, i.e. the concept of color,that allows reality to present itself as a thought-concept and to be conceptualized. There is no outside the concept of color; hence the notion that color is as real as reality gets as it is the most abstract concept. As well, this means that abstract art must communicate something concrete about everyday life, it must question social norms and our traditional concepts about art.

 

 

2. Everything is abstract, conceptual to the end; reality, materiality, is but variations in degrees of abstraction based on the concept of color, and this fundamental color-concept is gray in origin, indeterminate, ambiguous and pure deception.

 

 

What this means is that there is nothing outside the mental faculty, what reality is exists only in consciousness, initially as abstract color and nothing else. What we understand of the world outside via the human senses is conceptual through and through. What we touch, smell, taste, see, hear are concepts, abstract concepts that are processed and comprehended only in consciousness.

 

3. Art is real actions that revolutionize conventional standards, specifically conventional practice and aesthetic standard(s) through critical analysis, creative critique, creative re-interpretation and constructive innovation of outdated standardized art-forms and conventional ways of doing and seeing things. As a result, art is the continuation of philosophy via other means.

 

What this means is that today avant-garde art should attempt to reinvest the individual with power as the arbiters of what constitutes art and more importantly what constitutes a museum/art object. Color-realism attempts via avant-garde art to transfer power and technology from the social worker/bureaucrat to the artist and the individual. Color-realism is an avant-garde, a re-interpretation of past avant-gardes. Color-realism is the inheritor of the avant-garde spirit that is never extinguished. For color-realism, the revolution of everyday life that was present in past avant-garde movements has not been extinguished; it has simply been re-configured at the micro-levels of everyday life. True, the total revolution of everyday life that past avant-garde movements, automatist revolution etc., have attempted to bring forth is no longer an option, meaning that a total-refusal of the status quo is problematic and impossible. Notwithstanding micro-revolutions of everyday life, small insurrections, micro-refusals in the micro recesses of everyday life continue to persists and this is where the avant-garde spirit has re-configured itself.Whether it be the refusal to drive a gasoline car via an electric car or the purchase of pure abstraction painting in favor of a landscape, there are micro-revolutions and micro-refusals taking place across the socio-economic spectrum of society whereupon the individual is regaining its autonomy and freedom by its small everyday acts of refusal, usurpation and re-configuration of the dominant traditional conventions of everyday life.

 

4. Meaning and/or Value in Art and/or of an art-from is based on structure of feeling.

 

What this means is that Color-Realism is about constructing a structure of feeling via an artwork, where thought and feeling are one, i.e. where specific thoughts generate specific feelings and specific feelings generate specific thoughts via the artwork.A critique of Rothko is that his paintings although yearning to instill specific feelings in the viewer, i.e. feelings of tragedy, doom, ecstasy, the religious experience etc.,never achieved this end due to the fact that Rothko never constructed his paintings with a structure of feeling in mind, although this is exactly what he wished to achieve via his artwork. Consequently, his artworks remained open-ended, cryptic and open to a multitude of interpretations and sensations, meaningless, and currently the sum of contemporary abstract art continues to be trapped and spellbound in this outmoded type of nonsensical creation. Rothko’s artwork did not achieve the desired effect that he so longed for. Rothko did not see the possibilities of titles as an artistic medium to guide viewers to specific sensations, experiences and thought-forms, i.e. concepts. In contrast, color-realism remaining true to the emotional power of pure abstraction, first discovered with abstract expressionism, takes pure abstraction to the next level, a heighted level, designing specific structures of feeling through artefacts that can allow the viewer a basis and/or context for the manifestation of specific feelings and specific thoughts, which is the way to meaningful communication, the intrinsic purpose of art. Moreover, this is the realism of this specific form of pure abstraction painting called color-realism, where titles structure thought as visual images structure feeling and vice versa. This is the different between old abstract art and the new abstract art.

 

5. Great Art by any means necessary.