The freedom with which painter Marvin Jemal mixes classical and popular art‑historical sources, kitsch and traditional images, archetypal and personal fantasies, etc. constitutes a rejection of the concept of progress per se. It would seem that, without any specific idea of progress toward a goal, the traditional means of valuing and validating works of art are useless. Bypassing the idea of progress implies an extraordinary freedom to do and to be whatever you want. In part, this is one of the most appealing aspects of “bad” painting – that the ideas of good and bad are flexible.
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