| Olivier Mosset, 2001
The word "radical" takes on new meaning when the subject is Olivier Mosset. One of the original members of the Radical Painting Group (in fact, the idea of forming the group was his), he was also an important voice in art politics in the 1960's. The Napster controversy is only the latest instance of politics insinuating itself into the world of the arts. The issue of ownership of art is at least as old as the 60's and shows no sign of going away. In the 60's the issue was raised by an artists' group known as BMPT (members were Buren, Mosset, Parmentier and Toroni), who painted as a group and regarded any image produced by one member as property of the whole group. In the intervening years, arguments about attribution and ownership have persisted, without definitive resolution. When asked his current views on this subject, Olivier Mosset says he still affirms the original ideas of BMPT, and adds, "After all, the painting is what's important. Let the painting be itself. What counts is the object itself. Who does it is less important." As for the Radical Painting Group, "radical" in this context has to do with its meaning related to "root". One of the most important ideas behind Radical painting is the attempt to get at the roots of painting; or in other words, the laying bare of the central nature of painting by eliminating inessentials such as representation and composition. Radical painting is monochromatic and focuses on the color itself, refusing to interfere with the viewer's own experience of the painting. Mosset professes no current allegiance to the group or their ideas; in fact, he characterizes some of his past work as an attack on monochrome art. He does, however, say he is still interested in what other painters in the group are doing and is still producing monochromatic art himself. He distinguishes his stance from that of other Radical painters by identifying his own work as more conceptual in nature. Whereas other Radical painters are primarily concerned with process, Mosset says that he is primarily interested in the way the painting looks in the end. Both Mosset and the other Radical painters are concerned with eliminating "meaning" from painting, whether that meaning comes out of direct representation, symbolism or abstract expressionism. Mosset strives particularly for "neutrality and effacement", something he says is extremely hard to achieve. A reviewer has noted in this regard that "To be authentic and relevant, painting must be as indifferent to itself as the world to which it belongs has become." So in the end, Mosset's "neutrality" becomes a political statement of a kind, despite his careful avoidance of representation. Mosset has exhibited in museums and galleries in Europe and the United States since the mid-Sixties, with his first appearance at the Venice Bienale in 1964. His work was included in the Postmark show at SITE Santa Fe in 1999. Despite a long and exciting career as a major figure in monochrome art, he still describes the highlight of his career as being in his studio, trying to make a painting. "That's what keeps me going." A radical stance indeed. |