Historically and politically, the petit-bourgeois is the key to the century. The bourgeois and proletariat classes have become abstractions: the petite-bourgeoisie, in contrast, is everywhere, you can see it everywhere, even in the areas of the bourgeois and the proletariat, what's left of them.
I can never fathom it when people say things like "I can't understand abstract art!" Or: "Abstract art is junk!" Or: "Abstract art isn't as valid as realism!"
I often told the fanatics of realism that there is no such thing as realism in art: it only exists in the mind of the observer. Art is a symbol, a thing conjuring up reality in our mental image. That is why I don't see any contradiction between abstract and figurative art either.
A socialist is someone who has read Lenin and Marx. An anti-socialist is someone who understands Lenin and Marx.
There is no such thing as abstract art, or else all art is abstract, which amounts to the same thing. Abstract art no more exists than does curved art yellow art or green art.
Bourgeois class domination is undoubtedly an historical necessity, but, so too, the rising of the working class against it. Capital is an historical necessity, but, so too, its grave digger, the socialist proletariat.
More than one branch of the avant-garde, claiming to break with the bourgeois vision and mode of production, remains tied to it in spite of its denials and ex-communications. We are far from having overcome bourgeois thought or practices, despite the socialist "intermission" between the Russian revolution and the collapse of the Berlin wall. The avant-garde has lost its radical nature. On the other hand, "bourgeois theatre" is sometimes subtle enough to flirt with the avant-garde or to make "intelligent boulevard theatre.
The bourgeoisie, which far surpasses the proletariat in the completeness and irreconcilibility of its class consciousness, is vitally interested in imposing its moral philosophy upon the exploited masses. It is exactly for this purpose that the concrete norms of the bourgeois catechism are concealed under moral abstractions...The appeal to abstract norms is not a disinterested philosophic mistake but a necessary element in the mechanics of class deception.
Negativity is often looked upon [in the USA] as a kind of thought crime. Not since the advent of socialist realism has the world witnessed such pathological upbeatness.
Abstract understanding doesn't mean arbitrary sloshing and messing. Abstract art is controlled visual magic based on laws and methodology. Abstraction generally involves implication, suggestion and mystery rather that obvious description. Like a good poem, a good abstraction attacks your feelings before your understanding. Abstraction within realism adds zest and excitement to otherwise dull subject matter. Abstract understanding takes time and patience.
People think that the art market is about opportunists and hedge-fund managers getting broken art, but what really happened is that there was a new configuration of bourgeois values in the U.S. and an acceptance among the bourgeoisie of contemporary art as an idea. I think that bourgeois people are horrible.
Realism' has been abandoned in the search for reality: the 'principal objective' of abstract art is precisely this reality.
Capitalism has been fully restored in Yugoslavia, as is well-known, but this capitalism knows how to disguise. Yugoslavia portrays itself as a socialist state, but of a special kind, as the world has never seen it before! The Titoites even boast that their state has nothing in common with the first socialist state which emerged from the socialist October Revolution and which was founded by Lenin and Stalin on the basis of the scientific theory of Marx and Engels.
Modern abstract art starts in Russia in about 1915 with Malevich, and then the Russian Revolution happens, and eventually all that experimental art gets squashed and social realism comes back into play. All of a sudden, Malevich is no longer painting black squares; he's painting peasants in colorful schmattas.
Calls for the simplification of abstract or allusive art have always come from governments suspicious of artists themselves. This is why totalitarian regimes have always legislated some form of realism.
Surrealism is a bourgeois disaffection; that its militants thought it universal is only one of the signs that it is typically bourgeois.