CONCEPTUAL
This conceptual field has described many significant artworks since the early to mid-1900s. Some descriptive labels attached to this movement are mental concept, abstract, vague, general, impractical, unrealistic, or irrelevant. Interestingly enough, as technical creators with the ability to compose human forms within realistic scenes, showing their period, time, and relationship to their environment are marginalized. The conceptual movement diverged to head in the opposite direction. There is little exposure to where these conceptual torch wielders come from, their relationship to the elite, and the information they intend to project onto the public. Mostly, these abstract artists were nothing more than an implemented theory. A story made up to subjugate natural painters. Those who hold the values of painters range from a classical standpoint. The approach is quite simple. To subtract one, you must add another. It seems relevant to point out that just as Hollywood pushes out their narrative to the masses, regardless of what people’s beliefs are. The ones who suffer from this conceptual writing of history are no other than classically trained creators. These are the pivotal diversions causing Man to become obscure.
The elimination of man is the removal of human values, the transformation of art, and underlining the rewriting of history. There is nothing more profound than a learning life, only to realize that all you were taught was false. Every story in history is an avenue from the direct path. Every story in history is a narrative to bring about a specific mindset to set a man against another. One minus one equals zero. To be on the wrong path, one only needs to adopt these teachings of the present storytellers. Listen to the commercials, the education, and the chorus of decent. It plummets us all more profoundly and deeper into the abyss. Some call this hell. I call it the unlearning, unrepresented, or the distraction from the accurate histories within our reach, yet entirely out of sight by the average man. The killing of art follows the killing of a man. The genocide of a people and their beliefs. Their belief in God. The perversions of art are a mechanism of genocide.
To this day, many children are never taught about this mass genocide. This is an excerpt from a book by Solzhenitsyn. With an essential question to follow. {In the book Solzhenitsyn documents the overrepresentation of Jewish individuals in the NKVD and in Bolshevik leadership. He claims that the ethnic hatred these individuals had for Christians played a role in the Holodomor. Jewish individuals had faced persecution in Ukraine before the Bolshevik rise to power. These individuals exacted their revenge on the Christian Ukranian population. The result was the death of 4 million Christians—the line of good and evil cuts through the heart of every human. One cannot simply say a given ethnic group is evil. Every individual must struggle with the good and the evil in their own heart. That being said, it is important to understand what motivates groups to commit atrocities against other groups because the previous century has been filled with groups killing other groups. Like the Bolsheviks, Jewish individuals are overrepresented in the ownership and senior staffing of the US news media. The news media also is inexplicably hostile towards Russia. If the current war mongering against Russian Christians is in any way motivated by the same ethnic hatred that motivated the Holodomor, we must face that truth honestly.} If Jewish individuals hated Christian Ukranians enough to starve millions of them to death, could the same thing happen today? Could Jewish individuals use their positions of power to seek out revenge against places like Europe and Russia that have a history of expelling Jews?
Stevenski Brewster - oil paintings 