User:Miieshach

Supercubism ( see Supercubist Manifesto) is term coined my Mike Frank, the avantegard artist and painter who is also known as Misha. In 2015, the Supercubist manifesto was declared. Just over a century ago Georges Braques, and Pablo Picasso pioneered the cubist art movement. Supercubism references Cubism and could be seen as a successor that is in every way indebted to the Cubist movement and artists, save one things perhaps. The title of Supercubism is a somewhat double meaning term. It fully conforms to the concept of Cubism in general, but also intends to go beyond, or take art in another direction. In fact the other, somewhat whimsical part of the Supercubism movement, is that there is technically no three-dimensional rendering and the canvas or picture plane is intended to be wholly flat or two-dimensionally produced on the surface, subsequently the visual depth created being merely incidental, or perhaps beyond that, metaphorical. The the three-dimensionality of cubism has been overrided, simplified, or superseded, as it were; the typical geometrical nature of Cubism is now being reduced to mere flat shapes and designs on the picture plane. Effectually, Supercubism denies Cubism, whilst seeing it as an essential or highly similar concept on which to build on, develop from, or even to deconstruct further; therebye Supercubism claims to be furthering Cubism, taking Cubism beyond Cubism, or even simply as producing a kind of Cubism that would quite rightfully seem like a sort of superimposed or 'superficial' Cubism. In this way Supercubism may be seen as a world developed in flatland, referencing the two-dimensional world described in his novella, 'Flatland, A Romance In Many Directions' by E.A.Abott. It would seem strange perhaps, that a movement that proclaims itself indebted to something would seem to undermine its basic tenents. however, as is the tradition with many art movements, in simultanaeity appearing to be a rebellion to previous movements, whilst in fact they honor them and reference their historical impact, and are probably best considered a reaction or response, and not necessarily a rebellion against, so too with Supercubism. In the broader artistic sense Supercubism is attempting the formulation of art that is building on the profoundly altered art history that seems to have manifested with Cubism and furthering that art history that has perhaps not encountered such a revolution or been addressed quite as dramatically since then. Supercubism, could be seen as both timely and necessary, claiming to be a new art movement ushering in the new millenium, and doing so in what claims to be in an unprecedented way, but one also, however reactionary, that is intrinsically linked to the recent past of art history.