picasso is a pimp

see one picture turn into an other

picasso takes representational art in. he treats her to repast with the dismal wretches. she is debauched in this way. a broken heart leads many to the streets. he takes representational art and turns her into a prostitute. the demoiselles d’avignon (1907), now hanging as prominently as the elbow-up ladies in nyc’s Museum of Modern Art, initially hits like an egg on the busy and lousy paris city street. picasso’s un-representational painting was received as an inconvenient, sloppy accident. how and when does art fold in on itself…let us trace the way a culture opens and warms its expression to the new.

plato finds art as mimetic. if art is representation, the nature of this representation changed. art is now representation of exchange, of reproduction, of how art is consumed. what does modern art represent? it’s consumption.

this is a shift from prior forms of representational art, whereby the act of consumption is underground, under paint. the viewer of classical renaissance painting, of 19th century “realist” painting marks the canvas as a window to a mythic point–to the object clearly and evidently represented. these are the cartesian coordinates of truth that proffer a world enclosed and enclosable by human expressions.

by contrast, the modern work of art is a mirror. our consumption of the art is involved and implicit to the very fabric of the canvas…as we are canvas.

the relation is also analogous to light in refraction and reflection. in representational “realist” art, we find a socalled reality–which, of course, we easily substantiate through our recognition–as, in fact, an assiduously idealized reality. in modern art, we find interpretive practices themselves laid bare as our images eternally confront us as ourselves. we are in and of our canvases.

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