Sabo “Hillary 2016”
What is provocative art in a hyper-politicized age?
It’s art that dares to express dissent from the orthodoxy of the ruling establishment. And despite their best efforts to camouflage the nature of their oppressive and destructive grip on the culture, the establishment these days is a hive mind of Progressive dogma.
In this era of integrated information, we are witnessing the most concerted attack on freedom in world history. The powerful are colluding to manipulate the powerless to act as the shock troops to enforce the agenda of the New Aristocracy of the Well Connected. From positions of power in government, administration, academia, media, and the arts, they promote lynch mob tactics against anyone who does not conform to their Orwellian programs of doublethink, thoughtcrimes, and Two Minutes Hates.
The festering ambition in the corrupt hearts of the elitists is unaccountable power for themselves; now they fancy they have the technology to make their tyranny truly global in scale. They like to proselytize about the direction of history, and appeal to idealism in order to sucker the useful idiots they need to act as their muscle. Yet in practice their proposed model will end up looking like every other attempt since Marx: a small group of privileged thugs standing on top of mass graves, while the enslaved populace toils away in fear and hopelessness.
There’s nothing progressive about what the Left proposes: it’s a regression to the same old feudalism that is as old as mankind itself, tarted up with some buzzwords and hypocrisy. The Gramsci long march through the institutions has been effective in degrading the culture to make a society ripe for totalitarianism.
We are on the edge now. All too soon, we will either see their plot succeeded, or we will find out what happens when their overreach crumbles, and their grand designs collapse under the weight of hubris and backlash.
What those who prefer freedom over submission do have in our favor is the reverse Midas touch of the Left: everything they take over, they turn to shit. Their dysfunctions can only be sustained when they can enforce a monopoly. There is perhaps no clearer visual evidence of the failures of the establishment than the contemporary art world. Under the guidance of careless elitist caretakers, the arts are undergoing a crisis of relevance. This actually presents an amazing opportunity.
The elitists think they have the arts all sewn up. It’s the last place they expect a counterattack to come from. And yet, for any real challenge to the current establishment hegemony to take place, it has to start in the arts. As a smart man once said, “Politics is downstream from culture.” This can be seen as a reiteration of what visionary English artist William Blake noted centuries ago: “The foundation of empire is art and science. Remove them or degrade them, and the empire is no more. Empire follows art and not vice versa…”
Empire in this sense doesn’t refer to a specific form of government but more so a culture, the authority of a way of thought, a sense of shared values. The elitists have weaponized art into an assault on the achievements of Western civilization, but they have nothing coherent, useful or enduring to replace those achievements with; all they offer is their lust for domination and self-aggrandizement. This makes their program a very niche market.
So the answer is to bypass the filters of the establishment, and take the change directly to the people. In April, at Lotus Contemporary Art of Phoenix, Arizona, a group show of citizen artists took a stand. This will hopefully be the first show of many.
Coordinated by Provocative Art 2016, this exhibit brought together renowned artists from across the country, including Pulitzer Prize winning cartoonist Michael Ramirez, National Review cover artist Roman Genn, and controversial guerilla public artist Sabo. As organizer Melissa Dawdy states, “…what provokes interest today is artwork that that expresses freedom within the context of Western Civilization. Artists are planting a flag in the sand, saying ‘Art is not about conforming to a political view.’”
It was an honor to take part in this show. Many concurrent streams of free expression were presented: street art, illustration, and fine art shared the space, displaying skill, humor and integrity.
As the revolutionary Remodernist Manifesto declares:
“It is quite clear to anyone of an uncluttered mental disposition that what is now put forward, quite seriously, as art by the ruling elite, is proof that a seemingly rational development of a body of ideas has gone seriously awry. The principles on which Modernism was based are sound, but the conclusions that have now been reached from it are preposterous.
We address this lack of meaning, so that a coherent art can be achieved and this imbalance redressed.”
We are the swing of the pendulum. This is only the beginning.
Floyd Alsbach “Solon’s Demon 2 (Ares Berserker)”
Richard Bledsoe “The Collective”
Denise Fleisch “Untitled”
Roman Genn “Che Obama”
Sharon McGovern “Lazarus Dancer”
Michael Ramirez “The Anchor”
Sabo “Ted Cruz”
Tanya Slate “Diminished”
Marc Stolfi “Mmm..mmm..mmm”
Update: Welcome Instapundit readers! Please see other articles here for more commentary on the state of the arts.