Another set of questions involves exposing the underlying Materialist philosophical underpinnings of Post-Modernism: the primary Post-Modernist strategies that lead to either pictorial or concrete art praxis. Two orientations that exclude the possibilities of improvisational painting that celebrates its non-thing-ness., its anti-materiality. Post-Modernism embodies the materialist bias moving art toward concerning itself with things in a physical, material world, in a near-totalitarian Consumerist social context.
Within this context the choice remains to consume, or exploit art’s marketable and hence monetary value, that is, its value as an exchange for materialistic goods. This includes attempts to aestheticize experience itself in a manner supporting a culturally privileged set of statii, such as associating its appearance in a museum, or alternatively, its status on the street, to what is “in” or the “next new thing,” that is, to having status in and of itself, or its status as some sort of “avant garde” activity, in spite of the long known bankruptcy of this notion, with all the historical linearity and presupposition of privileged status that implies.,
Post-Modernism itself has become a brand, a designation of privilege, like some “Good Housekeeping Seal” of approval, a specific cultural status to be accepted by a specific caste– the “advanced” cultural-scentii with its anointed cognoscenti, arbiters, and provocateurs.