How the Contemporary Art World Lies To You

 

Cut the Bull: 

Damien Hirst’s Postmodern “Art,” A Box with a Rotting Cow Head, Maggots, Flies, and a Bug Zapper 

 

The cult of Postmodernism is a toxic current flowing through our culture. Postmodernism is a kind of Cultural Marxist magical thinking among our indoctrinated-not-educated establishment. They have convinced themselves, and each other, that language shapes the world, and by controlling the social Narrative, they can force the universe into obedience.

Postmodernism is now the consensus worldview of the ruling elite. Cultivated in the carcinogenic breeding grounds of universities, this deceitful and cranky way of thinking has metastasized, and has become the default position of administrative professionals in government, business, the media, and especially the arts. People are suffering due to this unsustainable hoax, which is being inflicted on us all by top down activism. It has even soured our personal relationships.

Art provides great evidence of Postmodernism’s absurd, pretentious poses. Occasionally in my studies I find a piece that really exposes the rot. The reason the article below resonated for me is the writer sings the praises of some key Postmodern “masterpieces” and “ideas” which I’ve also written about.

ARTICLE: How to Look at Contemporary Art by Christopher P. Jones

Mr. Jones packs many rationalizations and NPC tropes into his brief commentary. He begins with the patronizing Postmodern assertion which blames the audience for not embracing the suck presented by the establishment art world. He proclaims the public doesn’t accept shallow junk as a legitimate replacement for real art because they are not sophisticated enough.

Then, as an illustrative example, he hits the bricks.

A vintage photo of Carl Andre’s “Equivalent VIII”

 

This is what passes for art in Postmodernism. Jones writes:

“There is an American artist named Carl Andre, a very renowned figure these days thanks to his influential minimalist sculptures. Back in the 1970s, the Tate Gallery in London purchased one of Carl Andre’s works, a piece called Equivalent VIII. The event caused a storm, since the artwork consists of nothing but a series of bricks arranged into a rectangular block on the floor. It had newspapers and critics up in arms, asking why public money was being spent on such an artwork. The term ‘just a pile of bricks’ stuck in the collective memory as shorthand for the dubious product that contemporary art sometimes appears to be.

“It is common for visitors to a contemporary art gallery to wonder if the objects on display are perpetrating some sort of hoax, or at least sharing an inside joke that the rest of us are not allowed to understand.

“In fact, Carl Andre was trying to make a sophisticated statement about the calm beauty of rational order and simplicity, and the relation of earthly materials to actual space. He wasn’t trying to trick anybody. Unfortunately, his wider conception of what a work of art can be didn’t match the public mood.”

I’ve written about this travesty before, in The Great Tate Bricks Controversy of 1976. Where Mr. Jones hallucinates sophistication, beauty, and order radiating off a heap of misplaced masonry, I see something else: “...the limitations of material as message render the piece itself as dull and inert. Without lots of art blather to support it, the piece is simply a stack of bricks out of its normal context, without any inherent interest of its own.

As the rebellious art movement Stuckism observed: “Art that has to be in a gallery to be art isn’t art.”

Mr. Jones goes on to leak out an infamous anecdote about the puerile Postmodern role model,  French con artist Marcel Duchamp.

Fountain: Down the Drain 

 

 

“…In 1917, Duchamp presented a readymade that would have great and lasting significance on the story of art. The work was called Fountain, and consisted of a gents’ urinal made of porcelain from a factory. There is little else to say about it. It’s a urinal. Expect that Duchamp had the temerity to submit it to the exhibition of the Society of Independent Artists as a work of art.

“The idea that a porcelain urinal could be considered art was, naturally enough, deeply disconcerting. For centuries, art had consisted of hand-crafted paintings and sculptures. Not surprisingly, the show’s committee decided that Fountain was not art and rejected it from the show.

“Of course, Duchamp wasn’t trying to compete against painting and sculpture with his readymades. Rather, he was making the provocative claim about what art can be. If something is presented as art — if the artist says it’s art — then who is to say whether or not it qualifies? In this way, Fountain addresses the wider questions of cultural tradition, habits of thought and the role of museums in regulating what we as a society deem noteworthy or merely ordinary.”

Mr. Jones either ignores, or does not know, that Duchamp probably stole credit for the urinal from a mentally ill female artist friend of his.  In the exposé 1917: A Shattering Discovery from the Year Art Went Into the Toilet, I took the piss out of it:  “Fountain has been used as the justification for turning art into an ironic elitist assertion, rather than an uplifting communal experience. It’s a truly nasty legacy.”

The defensive redefining of the purpose of art from a gratifying visceral engagement into a game of deflection and one-upmanship exposes the Postmodern hole in what should be the soul of art. What Postmodernism is presenting is not art. It’s a form of psychological warfare, designed to erode clarity, wisdom and sense of purpose.

George Orwell knew the technique back in 1948, when he wrote 1984. It’s easier to dominate the disoriented and dispirited. Socially enforcing the acceptance of lies is meant to break the mind and the spirit, reducing individuals into easily manipulated drones. To join the elites one must swear 2+2=5. Claiming a toilet is art is exactly the same thing.

Postmodernism believes in nothing but it own insatiable appetite for power. Returning to “How to Look at Contemporary Art,” Mr. Jones parrots the party line.

“Postmodernism takes as its starting point the fact that culture and society have changed a great deal over the past hundred years or so, and that mass media, consumer society and global communications are an integral part of that change.

“Our understanding of fundamental things, like identity, value, progress, meaning and even reality, has been reshaped by these changes.”

It seems more likely that instead of fundamentally remaking man in a matter of decades, technology has just provided a cabal of shitty control freaks with more tools to enforce their will, and better methods of deceit to obscure what is actually going on.

“To arrive at a single point of view seems inadequate. Change is everywhere about us, so our perspectives must continue to change too. Contemporary art has these ideas at its heart.”

Is this a serious claim that change is a new phenomenon for the human race? Postmodernism wants us so focused on what is in flux that we forget about what is eternal.

“An obvious example is the idea that ‘history is written by the victors.’ To realize this truth is to understand that narratives are not necessarily (if ever?) descriptions of truth, and that sometimes there are voices and stories that we don’t hear. Narratives are perspectives, with their own biases and limitations.”

Seeing the world as only an extension of their lust for control, Postmodernists deny objective reality, the endless chains of cause and effect. Instead, they worship The Narrative, a fairy tale version of the universe conjured up by their own relentless wish casting. They desperately need us all to cooperate with this hoax. They want us to have no precedents, principles or traditions that they can be measured against, so they claim there are no such things, or that they are somehow tainted. These days calling out someone for bias is like calling someone a witch during the Inquisition. Just the accusation is considered proof of guilt, and it better be followed with confession and repentance.

But then Mr. Jones hits the sweet spot: the Big Lie that enables the corrupted culture industries to continue to churn out such dysfunctional offerings.

“If you haven’t realized it by now, contemporary art likes to ask lots of questions. In fact, it prefers to ask questions than to take a definite position. That is the influence of postmodernism. It likes to probe the ways of the world and ask if our habits and expectations ought not to be questioned too…

“So when looking at a work of contemporary art, try asking yourself these questions: ‘What habits of thought is this work questioning? What assumptions is it over-turning? And how do I feel about the provocation it is making?”

“There are not right or wrong answers. Just perspectives. Yours, mine, everyone else’s. This is what contemporary art wants to explore and celebrate.” 

In “How to Look At Contemporary Art,” Christopher P. Jones tries to defuse our skepticism.”Let me assure you, contemporary art is not trying to trick you. It’s time to leave that idea behind,” he pleads.
Sorry, I won’t leave valid insights behind in order to be a better servant for a totalitarian scheme like Postmodernsim. But I do somewhat agree; contemporary art’s primary purpose is not to trick you.
Elitist contemporary art’s primary purpose to poison you.
In my book Remodern America, I tell the story of Remodernism, the cultural reboot that will wipe out the sophistry and abuses of Postmodernism.
From the Remodern America Manifesto:
This is our moment in the mighty continuum of art and life. Real art knows no boundaries; it communicates across all times, across all cultures. Art is as much an aspect of our species as the opposable thumb, and just as prevalent. The art world can be as big as all of humankind, if we do it right. Remodernism accepts responsibility for the art of our times, conveying the wisdom of tradition into the opportunities of the future. Remodernism is love made visible. 
Postmodern Art:
Beat It 

 

 

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SPOON-FED “ART” AS A SOCIAL JUSTICE SHAKEDOWN

 

Dishing it up on Pharmaceutical Companies : Domenic Esposito’s Spoons

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The Postmodern coup against Western Civilization has been very effective in manipulating mass communications into a tool for social engineering. The elitists’ messaging efforts have become much more blatant and blunt in recent years, to the point they now openly proclaim their socialist and authoritarian intentions. They always had that lust for unaccountable power, but they used to lie about it.

Are these revelations occurring because the establishment feels our society has passed the tipping point already?  Or are they being forced to expose their true natures prematurely under the assault of populist challenges? The big lie narratives are breaking down, as reality refuses to follow the scripted patterns. The dismantling of centralized power will be the story of the 21st Century.

Redefining art as just another form of leftist political activism is one of the establishment’s most tedious assaults on the culture. A man named Domenic Esposito is taking a very serious issue and says he wants to draw attention to it by the means of art, but there is something off about the pitch.

The Opioid Crisis is a plague, under-reported by the media. Esposito’s own brother is affected by addiction, adding a heartfelt urgency to the situation. Esposito’s visual to address the crisis is a giant sculpture of a spoon used to cook up illicit drugs.

Bent Out of Shape 

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So surely this visual aid would be activated regarding border security. After all, most opioid drug deaths are coming from Fentanyl from China and heroin from Mexico, Huge quantities of both are being smuggled through our southern border, an estimated $10 billion dollars worth annually. Cracking down on the free flow of drugs into the country would be hugely impactful.

But Esposito doesn’t want to draw attention to that. Instead, he wants to cause trouble for some deep pocketed pharmaceutical companies with convenient offices right here in the United States.

In the Gateway Pundit article, Artist Movement Hopes to Spark Bigger Conversation About the Opioid Crisis — Using Giant 700 Pound Spoons,  a rationale is provided for why Esposito is not focused on the criminal narcotics trade that’s truly fueling the epidemic:

In 2007, months after pleading guilty to criminal charges that the Sackler family company, Purdue Pharma, had mismarketed OxyContin, the Sackler’s founded another company called Rhodes Pharma. Rhodes produces generic opioids such as oxycodone, morphine, and hydrocodone. According to a report from the Financial Times, between the Rhodes and Purdue, the Sackler family is responsible for approximately 6% of all opioid prescriptions nationwide.

According to the National Institute of Drug Abuse, 80% of heroin addicts first started by using opioids.

Last year, the Opioid Spoon Project left one of their sculptures in front of the offices of Purdue. Earlier this month, they left one outside Rhodes.

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So, this company, which admitted wrongdoing 12 years ago, and is responsible of 6% of presumably LEGAL prescriptions of pain pills nationally, gets smeared with the spoon and the media hype.

80% of heroin users used opioids first? I wonder what percentage drank alcohol first as well. Esposito is missing a trick. He should set up a spoon in front of an Anheuser-Busch brewery while he’s at it. There’s no denying big Pharma has engaged in some exploitative practices. The bigger issue is a well-organized criminal syndicate is moving drugs at will across half the globe as the politicians stand idly by.

What is really going on here becomes more transparent in a the-lady-doth-protest-too-much-methinks fashion later in the article. There is no specific solution Esposito is calling for, but he does plan on making a going concern out of it:

In reality, there are so many issues at play in the opioid crisis, Esposito explained, that it is hard to pinpoint one single piece of legislation or program that would help to stop it. It needs to be tackled from multiple angles.

“For us, we are trying to hold these corporations accountable and pushing for the guidelines for getting opioids are given another look,” he said.

Esposito told the Gateway Pundit that there are more spoon drops planned for the future — and that they have a huge list of companies and people responsible that need to be shamed beyond the Sackler family.

The Opioid Spoon Project is in the process of applying for 501C3 status, to become a nonprofit. When that happens, that will allow them to begin accepting sponsorships. [emphasis mine] He said there has been a huge amount of interest from people who want to donate either time or money, but they want to make sure they do things right.

“There’s just so much fraud out there with people raising money,” Esposito laughed. “I don’t want to be seen like that. I want to make sure this is done right. We’ve done such a great job so far that I want to continue to uphold our moral and ethical standards.”

Esposito said that they are thinking about creating art to raise money that way, to help fund continuing the spoon installations.

Seriously, how much does it cost to dump a hunk of steel onto a sidewalk?

Shame, that great Postmodern blunt instrument for enforcing  obedience to the narrative. I wonder if giving a corporate sponsorship to that non-profit would be great way for a drug company to avoid the negative publicity of a renegade art installation and ceremonial activist “arrest” on their property. Let’s call it a win/win. I doubt the Cartels will be doing any charitable donations for a tax write off.

Postmodern art is tool of oppression. Here an obvious stunt is seeking to profit from harassing soft targets while claiming the moral high ground, co-opting a terrible situation without acknowledging the actual scope and reality of the problem. I wouldn’t even call this spoon thing art at all. It fails to do what real art does. It’s a one-liner, without any insights, depths, or mystery.

The left taints everything with its politics. As I describe in my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, our culture is through with the distortions of Postmodernism. We are entering a new phase, the Remodern era:

The appreciation of inclusive, inspirational art is a great bonding experience. A new national pride in our arts will be vital for the healing process.

There are important distinctions between art and propaganda. Although both are forms of visual communication, their aims are completely different. Great art explores the mysteries of human experience. Propaganda seeks to influence an intellectual decision by stirring up obscuring clouds of emotionalism.

Strong art reaches universal, shared experience by honestly presenting the results of self-exploration. Propaganda seeks to substitute that universal appeal with the presentation of ideology it assumes to be commonly held by all right-thinking people. But what if the audience doesn’t share the same convictions, or are indifferent to them? Then the art fails to connect, falls flat.  The more blatantly political a work is, the smaller its audience will be.

Remodern art is political by not being political. Instead of submitting to the Postmodern demand to make everything into an activist statement, Remodernism makes the stand good art exists independently of political poses, and ideological purity cannot stand in for effectiveness.

 

Battle Cry 

 

UPDATE: Welcome Instapundit readers! Please visit other posts for more commentary on the state of the arts from a Remodern perspective. 

ARTICLE: A Call to Unionize Exposes the Art World’s Sense of Entitlement

Manhattan’s New Museum: A Precarious Pile Up Over Unionized Staff 

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“My problem with unions is they breed mediocrity.”

-Kevin O’Leary, Canadian Businessman 

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In today’s corrupt and isolated contemporary art world, mediocrity might be an improvement. One overpriced elitist cloister is about to have a chance to find out.

The New Museum is located in Manhattan. Founded in 1977, the New Museum rejects the whole antiquated “museum as a venue for significant works of high quality which have withstood the test of time” concept. Instead,  “New art, new ideas,” is their oh-so-bold mission statement.

A quick review of their history shows just how much they fail to deliver on this simply stated goal. Postmodernism’s predictable style, a fake approximation of culture, means the New Museum is infested with transitory, unskilled installations and pointless performances, all propped up with convoluted rhetoric.

Some exhibit “highlights:”

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But is it Art? 

 

It’s amazing such twaddle finds a foothold anywhere, let alone in the pricey environs of New York City. But the establishment’s ongoing efforts to subvert and destroy Western Civilization are very well subsidized. In fact, the New Museum is undergoing a major upgrade: $85 million to double its exhibit space, so it can feature twice as many transitory, unskilled installations and pointless performances. But wait: it will also allow them to expand “more experimental programs like its business incubator and the urban-policy think tank that it runs.” It’s the Postmodern mandate that every enterprise just serves as a front for social engineering activism, and the arts are particularly scarred by that presumption.

However, discontent is brewing in the ranks of the establishment’s ongoing psychological warfare against the populace. Some Millennials felt they weren’t receiving the Special Snowflake pay grade and working conditions they want.

Artnet reports:

“…current and former museum employees who spoke to artnet News often complained that entry-level salaries are unsustainable—around $35,000 to start—and that some departments discourage workers from accurately reporting their hours in order to avoid paying them overtime. A spokesman for the museum says it offers competitive salaries for its location and size. The spokesman also said the median salary for full-time employees who were eligible for the union vote is $52,000.

“According to three current and former staffers, turnover rates are high and the museum can take months to refill positions, leaving the remaining staffers to do multiple jobs on top of their own.

“’The low salaries breed turnover, so it’s just this constant flow of people that makes everyone burned out,’ said one former museum employee who asked to remain anonymous. ‘I took the job because I would’ve chopped my arm off to work there at the time, but it just wasn’t sustainable. I didn’t have a safety net, no support from my parents. A lot of people get to the point where they’re like, ‘I’m working a job meant for rich people.’

“Another concern is that there is virtually no consistent, designated venue to air professional problems…I think the general sense is there’s not much of an HR structure or grievance system in place,” Kopel says.

“Many of these issues are emblematic of problems that staff at other institutions are grappling with: low pay, long hours, and the absence of a clear reporting structure. But some employees say the environment at the New Museum is uniquely challenging compared to other places they’ve worked. What’s more, the museum—founded by Marcia Tucker in 1977 after she was fired from the Whitney Museum—has a reputation for forward-thinking exhibitions and programs.

“’It’s hard when you get hired by an institution with such progressive rhetoric and you don’t have a voice,” said one former employee. “The New Museum sets the standard for a lot of institutions, and they are setting a lower standard.’”

Art Critique chanted in support with an editorial piece, “Museum Workers in New York City Fight Back”:

“Art institutions need to take care of their workers plagued by high-cost city living, student debt, and hopes of a stable financial situation that allows them to work at an organization they are passionate about.”

 

Translation: This is not the glamorous, prestigious, and well-compensated future my Masters Degree in Intersectional Feminist Ceramics should rate!

These art museum workers are still stuck in their university mentalities. It’s probably because they switched one form of isolated elitist playpen for another; they expect to retain their inmates-run-the- asylum habits. Their career path seems to involve endlessly rehashing the contents of sociology term papers and asserting that is productivity. Observe some of their own quotes  on their inane exhibitions, which are uniformly dedicated to various leftist tropes and NPC talking points that have been stale for 50+ years. .

 

“…dedicated to providing pro-bono legal representation to undocumented immigrants and their families facing deportation…

The work…touches on urgent themes such as migration and displacement. Addressing trauma in the US as a consequence of the country’s foreign policy actions…

…ongoing explorations of the complexity of collectivity and the human and social consequences of imperialist ventures…

…reflect on racism and power, migration and national identity, and the layers of historical memory that comprise our sense of community and belonging…”

 

Since the wage slaves feel they are not being justly rewarded for lolling around in an institute that serves up such incoherent  academic gobbledygook, they get to indulge in another collegiate pastime: organizing resistance and socking it to The Man. Some of the lower caste drones of the collectivist hive mind decided they weren’t getting enough of a kickback on the culture racket. So they decided to bring in some union muscle.

Because working in an elitist pretend-museum is just like working on the line building Detroit rolling iron, the New Museum pussy hat brigades and soy boys voted to  join up with the United Auto Workers.

One of These Things is Not Like the Other 

Top: Staff at the New Museum

Bottom: United Auto Workers Strike

 

Another whole article could be written about how the management of the New Museum reacted. As true progressives you would expect them to be all in support of bringing in hired gun extortionist goons to explain how to better spread the museum’s wealth around.

 

Nice cutting-edge creative space facility you got ‘ere…

Be a shame if anything ‘appened to it…

 

Museum management did try to understand the hot water they were getting into by contacting a firm with a reputation for defeating union initiatives. The art world scolding and shaming was so intense the New Museum had to disavow any attempt to explain why a union might not work out.  A spokesperson groveled:

 

 “The New Museum is a relatively small institution with a strong mission—we have always worked closely and collaboratively. We don’t believe unionization is the best way to preserve what is special about our culture or advance change. We value the creativity and input of the entire staff, and we will do everything we can to maintain our distinctiveness.”

Good luck to the staff of the New Museum in getting a union to produce Manhattan sized results for a gaggle of expendable specialists in a useless boutique endeavor. At least the New Museum didn’t take the route renowned art world charlatan Jeff Koons did in 2016:

“Jeff Koons Lays Off Over a Dozen Staffers After They Tried to Unionize”

In a way, artsy Postmodern types may just make perfect union members. As I describe in my book, Remodern America: How the Renewal of the Arts will Change the Course of Western Civilization:

“Postmodernists are parasitic. They are so other-directed, they can’t lead an independent existence. Postmodernists rely on a mob mentality to support and reinforce their irrational ideas and behaviors. As their intellects cling to group identification instead of independent thought, and their stunted emotions merely mirror groupthink expectations, Postmodernists are primed to sell their souls to fit in. They deny there is any such thing as a soul anyway, so it’s easy to give it up. The price doesn’t even need to be high. Postmodernism is a poverty-stricken ideology, so its practitioners have meager expectations. Most will never live the jet-setting lifestyle of their globalist masters. These influencers don’t have to operate within the perimeters they inflict on others. Postmodernists strive for the opportunity to bask in the reflected glory of their controllers.

“As Postmodernists are in thrall to the limiting collectivist fantasies of Marxism, it makes them anxious followers. They want to be in with the in-crowd, part of what they are assured is the inevitable winning side of history. It is the dream of every progressive to join the most favored status clique, where their ilk gets to call the shots. This conceit plays into the leftist assumption that in the utopia to come, some animals will be more equal than others, as Orwell predicted. They acknowledge no God that created all men equal. Leftwing rhetoric of fairness for all is just hype designed to deceive. Once triumphant, the radicals will punish their enemies and reward their friends, just like Postmodernist President Barack Obama urged them to do. Postmodern minions want to make sure they are in good with these brutal inquisitors. Postmodernists will commit acts of senselessness and violence when top-down social pressure is applied.”

 

The Contagion Spreads: Protests at the Museum of Modern Art 

 

UPDATE: Welcome Instapundit readers! Please visit other articles for more commentary on the state of the arts. 

Artist Turned Assassin: When a Marxist Mexican Muralist Attempted Political Murder

David Alfaro Siqueiros “The Echo of a Scream”

Perhaps the Screams of his Victims? 

 

“Our primary aesthetic aim is to propagate works of art which will help destroy all traces of bourgeois individualism.”

-David Alfaro Siqueiros

 

How much is forgiven to perpetrators of villainy, when they parrot the politically favored ideology. A case in point is the renowned artist David Alfaro Siqueiros  (1896-1974). This painter has works in prestigious museums around the world. Public art he created remains in prominent locations to this day. His experimental artistic techniques were said to have inspired the drip paintings of his one-time student, Jackson Pollock. Art history proclaims Siqueiros one of heroes of Mexican Muralism, a Modern art movement that claimed to be an art for the people.

Unless you were one of the people that didn’t agree with Siqueiros’s radical Stalinist viewpoint. In that case, Sisqueiros might have literally attempted to murder you and your family in your sleep. That’s precisely what he tried to do to the exiled Leon Trotsky on May 24, 1940.

Leon Trotsky was a Bolshevik leader, the heir apparent to take over the Soviet Union when the original cult leader Vladimir Lenin died in 1924. Instead, he lost out to the thuggish Joseph Stalin. By 1929 Trotsky was exiled and on the run, fleeing Stalin’s vengeful inclinations to tie up loose ends permanently by means of murder.  For years Trotsky wandered around Europe, Soviet pressures and intrigues denying him any safe location. In 1936 he was sentenced to death in absentia during a Moscow show trial. Russia’s secret police, the NKVD, now had a mandate: kill the traitor.

Trotsky received an unexpected lifeline in 1937, when the Mexican Muralist Diego Rivera pulled strings and got the Mexican government to offer asylum in Mexico City. When Trotsky arrived Rivera was too ill to meet him, but Diego’s wife, the fascinating Frida Kahlo, turned up to welcome him.

Safe at Last? Frida Kahlo Greets the Trotskys

 

For a time the Trotskys lived at Frida’s home, La Casa Azul.  She and Trotsky soon became lovers. She even dedicated a painting to him. In the work she holds a slip of paper which reads,  “To Trotsky with great affection, I dedicate this painting November 7, 1937. Frida Kahlo, in San Angel, Mexico.”

 

Frida Kahlo, “Self-Portrait Dedicated to Leon Trotsky”

 

Diego Rivera didn’t seem to mind. He had plenty of affairs of his own, and he was secure in his stature in the art world as one of the Big Three of Mexican Muralism, along with José Clemente Orozco and David Alfaro Siqueiros.

A Prisoner of  his Politics:  David Alfaro Siqueiros

Unfortunately, Siqueiros wasn’t just another artist. He was a ruthless partisan working with Stalin’s secret police on a final solution to the Trotsky problem. In May 1940 the painter personally led an attempted hit on Trotsky and his family.

David Alfaro Siqueiros, The Sob 

The story is told on Marxists.org:

MEXICO – At approximately four o’clock in the morning of May 24, some twenty-five men under the direction of Stalin’s GPU penetrated the high walls surrounding Leon Trotsky’s house in Coyoacan, and riddled with machine gun slugs the bedroom where Trotsky and his wife, Natalia, slept. Robert Sheldon Harte, the secretary-guard on duty and member of the Socialist Workers Party, was kidnapped and murdered, his body thrown into a shallow pit filled with lime…

Trotsky had been working very arduously the day prior to the assault, and as is his custom on such occasions had taken a sleeping powder. He awoke hazily, thinking he heard the explosions of firecrackers with which Coyoacan commemorates the special days on the calendar. But the explosions were too frequent and they were not far away, as it had at first seemed, but almost within the room. With the acrid smell of powder, Trotsky realized that this was the attempt which he had been expecting for twelve years. Stalin at last had commanded his GPU to correct what he once termed his “major error” – exiling the leader of the 1923 Opposition.

Natalia Trotsky was already out of her bed. She and her husband huddled together in a corner of their bedroom. Natalia made an attempt to shield Trotsky with her body; he insisted they lie flat on the floor without moving. Bullets tipped through two doors of their bedroom, thudding in the wall just overhead. Where were the police who had been stationed outside the walls? Where the guards inside? Surely bound hand and foot, or kidnapped, or already dead.

The door to the room where Trotsky’s grandson Seva slept, burst open and a few moments later an incendiary bomb flared up around a small cabinet standing there. In the glare, Natalia saw the dark silhouette of one of the assailants. They had not seen him enter before the bomb flamed, but a number of empty cartridges within the room and five or six shots directly through each of the empty beds proved that this assassin had been assigned to make the final check, to still any movement that might still exist after the cross-fire from the French window opening on the patio and the door to Trotsky’s study. In the darkness of the room, and hearing no sound whatsoever now that the machine guns were silent, the assassin undoubtedly mistook the form of the bed clothes for the lifeless forms of Natalia and Leon Trotsky. He emptied his gun on those forms and fled.

The old revolutionists then heard what was to them the most tragic sound of the night, the cry of their grandson from the neighboring room, “Grandfather!”

Natalia found her way into his room. It was empty. “They’ve kidnapped him!” she cried. This was the most painful moment of all.

Seva, however, had awakened when the assailants machine-gunned the door opening from his room onto the patio, the bullets striking the wall barely above him. He immediately threw himself out of bed and rolled underneath on the floor. The assassins smashed through the door and as they passed his bed, one of them fired into it, the bullet striking Seva in the big toe. When they had gone, Seva called out, and then ran from his room, crying, certain that his grandfather and grandmother were dead. He left splotches of blood behind him on the pathway in the patio and in the library…

David Alfaro Siqueiros was eulogized in Futuro, Lombardo Toledano’s monthly magazine, as “an artist of great prestige and of universally recognized qualities. Throughout America, from New York to Buenos Aires his work as a painter is appreciated. He is a man who honors Mexico. In any country in the world a person of this class is an object of consideration no matter what might be his political affiliation. In Mexico it is not like this. Lately he has been the object of arbitrary abuses by the city police.”

It was this painter whose qualities were not given due consideration by the city police who, donning dark glasses, a false mustache, and a uniform of the city police, headed the gang which made the actual assault….

So Siqueiros failed in his efforts to kill an old man and woman. His network only managed to murder a guard and wound a little boy. But Trotsky didn’t have long left. On August 20,1940, another Stalinist assassin stuck an ice axe through his skull; Trotsky died the next day.

So what were the consequences for Siqueiros’s cruel act of terrorism? Not much. He managed to escape imprisonment:

 

The police department of Mexico City on June 18 announced that it had solved the case. Twenty-seven members of the Communist Party were under arrest. Among them, a number had made complete confession as to their participation. David Alfaro Siqueiros, the man who was an “honor to Mexico” according to Lombardo Toledano’s Futuro, was named as the actual leader of the assault. Above him were individuals from whom he took orders whose names were unknown to the staff members of the GPU caught in the police net. Haikys, formerly in the Soviet legation in Mexico and Soviet ambassador to Spain following the purge of Rosenberg in the civil war, was suspected to be one of these higher-ups. Carlos Contreras, GPU assassin in Spain, appears in the same category. Siqueiros, the Arenal brothers, Antonio Pujol, all members of the Communist Party, had fled Mexico.

The Stalinist press announced the arrests without mentioning the political affiliation of the prisoners, except indirectly in the case of Siqueiros, formerly the “honor of Mexico” but now “mad,” “undisciplined” and a “pedant.” The false mustache and dark glasses were undoubtedly the “pedantic” touch to his use of machine guns and bombs. It is not clear why they called him “undisciplined.”

 

Siqueiros lived a long life after he attempted to end Trotsky’s. He had highs and lows ranging from prison to star turns at Biennnals and vast public art projects, including the one of the biggest murals in the world, Polyforum Cultural Siqueiros, part of the Mexican World Trade Center. There didn’t seem to be any repercussions  for his murderous impulses. He was redeemed by the same elitist denial that ignores the estimated 100,000,000 human beings slaughtered by world communism. It falls right in line with predictions by Barack Obama’s mentor, Bill Ayres, that 25,000,000 Americans would have to be killed to advance socialism’s utopia schemes.

In my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, I describe the contemporary cognitive dissonance that occurs when creativity succumbs to ideology:

 

…Postmodernists don’t see the predictable Marxist pattern that today’s obedient flock will be tomorrow’s barbeque.

The spiritual life of Postmodernism has been misdirected from transcendental and enduring values to ponderous politics. Nothing is sacred. There is no sense of continuity; only the needs of the moment matter. Where there should be a human spirit engaged with the eternal choice between good and evil, Postmodernists substitute slavish devotion to those who reduce morality to dominance.

Frida Kahlo provided a horrifying coda to this disgraceful episode. Later in life, her artistic skills degenerating along with her health, she created a painting paying fawning homage to Stalin, the ruthless dictator who had ordered the brutal execution of her once cherished friend.

Echoing the depressing final line of George Orwell’s 1984, Frida loved Big Brother. She shares that trait with too much of our current artistic establishment.

 

Sellout: Frida and Stalin XOXOX

 

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AGAIN WITH THE FECES: THE ESTABLISHMENT ART WORLD SOILS ITS CREDIBILITY

Forget Jumping the Shark: The Establishment Art World Has Leapt into the Lavatory 

 

I get so tired of covering the art world’s pathological fixations on our biological secretions. But I also believe it’s important to expose what these sickos are up to.

It started in 1917, with the submission of a urinal as a sculpture to an art show. Con artist Marcel Duchamp ended up stealing the credit for it from a possibly schizophrenic lady acquaintance of his.

fountain

The Icon of Postmodernism 

 

Ever since then, the art world water closet has been a crowded place.

We’ve been treated to Piero Manzoni’s 1961 series “Artist’s Shit,” which is supposedly his canned crap.

Shit-canned 

In 1987 hack photographer Andres Serrano hit a blasphemous bonanza when he submerged a crucifix into a jar of urine. The art world lionized him because he upset those deplorable Jesus people.

 

Andres Serrano “Piss Christ”  There goes your taxpayer funding

In 2010 Marcel Walldorf won prizes with a sculpture of a peeing policewoman. Way to sock it to the Man! Or, er, the Woman, in this case.

No Relief From Art World Potty Mania

 

And in 2016 the prestigious Guggenheim Museum installed an actual functioning golden toilet estimated to be worth $2.5 million dollars. It was a piece credited to Maurizio Cattelan, called “America,” of course. Because that is what the people who make curatorial choices for the Guggenheim think about our country.

Golden Showers 

I could go on, and on, and on, with these contemporary art examples, as well as other icky oozes like spit and sperm. The so-called sophisticates that dictate our cultural identity seem to have a real hang up with scatology. But a good stopping point seems to be at the Museum Boijmans van Beuningen in Rotterdam, the Netherlands; the final word in excrement excitement. The pictures speak for themselves.

 

The End of Postmodernism 

The museum actually commissioned the Vienna-based art collective Gelatin to make this. They spent 6 months on it. Seriously.

“The shit as we present it is a sculptural subject, it’s not a joke,” Wolfgang Gantner, one of the four artists making up the collective, told Euronews.

We’ll be the judge of that.

For an extra level of insanity, patrons are expected to wear nudist costumes while they look over the leavings:

Peak Art World: Try a Little Trendy Gender Dysphoria While You Look at Shit  

Where Does the Art Exhibit End, and the Child Endangerment Begin? 

Because I understand what art can do for people, it makes me heartsick to see this abuse perpetrated by the elitists.

This is not art. It’s psychological warfare.

In my upcoming book, “Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization,” I identify how grotesque displays like this literal shit show demonstrate the ongoing collapse of the Postmodern globalist cabal, from the vantage point of the United States:

 

The elites had a great vision for America. They would wreck our culture and trash our heritage, and be the managers over our decline. They’ve been implementing their program for at least 100 years. However, in their long march through the institutions, they overlooked part of what makes America unique. We aren’t compelled to follow our “leaders.” We definitely aren’t going to follow them off a cliff.

Many compare the United States to earlier empires that declined and fell. The familiar pattern is happening here and now. Elitist mismanagement and ennui is encouraging social breakdowns. History demonstrates it’s only a matter of time until the barbarians overrun their dominion. The existing society will be overthrown by primitives from outside the complex system of assumptions and niceties cherished by the ruling class.

The great news is, here in the United States, we are our own barbarians.

Understand the current upper echelons are predominately not representative of the American way of life. They’ve been compromised by Postmodern delusions about their own omnipotence, and it’s ruined them. They should have studied Classical literature. It clearly warns about the perils of hubris.

To these upper crust pretenders, nothing is more backwards and uncivilized than their own fellow citizens, who cling to such notions as God, guns, and honor. Yet these traditional Americans are exactly the people who are best positioned to put an end to the current elitist shenanigans for good. Far from not understanding their Postmodern poses, we understand them all too well.

It will be traditional Americans who rise up to clear away the rubble of the establishment’s failures and decadence. America has an amazing record of achievement, when we put our values into action. We have the wisdom which Postmodernists thought they were too smart to need.

America isn’t dying. It’s the artificially imposed Postmodern worldview which is disintegrating. Americans will carry on, better than ever.

UPDATE: Welcome Instapundit readers! Please visit other posts for more commentary on the state of the arts.

Why Banksy’s Shredded Painting Gimmick Isn’t Actually Art

A Cunning Stunt: Banksy Strips 

 

There’s been a strange pantomime playing out over the news for the last couple of weeks. It’s brought rare mass audience attention to the bloated and corrupt establishment art market.

I’ve written about Banksy before, one the elite’s mascots. As stated in the previous article:

Perhaps English media figure Charlie Brooker summed it up best: Banksy gained such art world stature because “…his work looks dazzlingly clever to idiots. And apparently that’ll do.”

 

So this anonymous artist supposedly pulls a prank at a glitzy auction, and partially shreds a work. We are meant to believe this was set up years before, and a blue chip auction house which specializes in archival handling of very expensive and fragile works of art managed to overlook a shredder embedded in a frame. Seems legit.

The picture itself is achingly banal. Finally, a work of art less insightful than an emoji.

She has a sadz 

It’s not even drawn well. It’s like she’s got a stubby little Tyrannosaurus claw right arm.

Due to the publicity stunt of the shredding, now this piece is worth even more than the final purchase price of over a million pounds. Almost as if the “surprise” maneuver was a calculated bid to drive up prices, and everyone was in on it:

 

“Banksy didn’t destroy an artwork in the auction, he created one,” Sotheby’s senior director and head of contemporary art Alex Branczik wrote. “Following his surprise intervention on the night, we are pleased to confirm the sale of the artist’s newly-titled ‘Love is in the Bin,’ the first artwork in history to have been created live during an auction.”

The anonymous buyer felt similarly, based on a quote given to Sotheby’s.

“When the hammer came down last week and the work was shredded, I was at first shocked,” the buyer said, “but gradually I began to realize that I would end up with my own piece of art history.”

I would suggest that, while the buyer has purchased a curiosity produced in this particular historical era, it’s not actually art history we’re talking about here. Art did not partake in this gag.

To misquote a decent 1990s scifi action movie:

What if I told you everything you’ve been told about about art by the establishment is a lie?

Whoa 

The Postmodern elites don’t want people to have the experience of genuine art. Real art could incite individuals to manifest pesky traits like free will, idealism, and spiritual awakening. So a false version of art is hyped by the powerful, something that will keep the people befuddled and indoctrinated. Banksy is one of their henchmen, a willing cog in the disinformation machinery.

I wonder if Banksy is a mere individual, or more of a group effort. His pictures and shenanigans all have an odor of decision by committee about them. It would probably take a lot a groupthink to come up with such insipid offerings

With the fawning collusion of the media and establishment art world, Banksy gets to have his cake and eat it too. He gets to play anti-capitalist activist while selling shoddy products for millions. His globe trotting graffitied works are supposed to impart street cred, and conceptual anti-commercialism. But the same generic stencils are easily put onto canvases and sold off to the highest bidders. What is being bought isn’t the art, but a perverse species of ostentatious prestige.

Banksy’s content is the same old leftist slant that already monopolizes government, the media, technology companies, academia, corporate boardrooms, and the culture industries. How is Banksy supposed to be a rebel when he does nothing but echo the party line? His stuff is graceless propaganda, less nuanced than an editorial cartoon.

Banksy socks it to the running dog imperialist orange man!

Just like absolutely everyone else who is allowed to share opinions on a public platform. 

Banksy is a Non Player Character entity who  disseminates mindless graphics  instead of mindless chants. His followers claim he is speaking truth to power when all he does is reinforce the typical establishment narratives. He’s made himself rich while pretending to be down with the proletariat. It takes a deep coating of cognitive dissonance to be able overlook that festering mass of doublethink.

But most of all, Banksy is a name brand selling a product that has the psychical characteristics of art, but is not really art at all. He offers artifice, an approximation of art  that does not actually deliver on art’s most important aspects. He simply does not provide a credible artistic experience.

Banksy’s mock art displays no personality. It does not display advanced achievements in craftsmanship. It does not suggest a meaningful philosophy. It is not unique. It lacks real emotional resonance, spiritual awareness, a sense of contemplation. There is no awe, no sustainable experience at all, just a one liner summary of social engineering tropes. This type of empty, soulless junk is what the elitists have propped up to act as a decoy away from actual creative efforts.

The time has come, when our ruling class tries to shove an inert narrative down our throats and tells us it is art, that we shred their presumptive authority.

In my upcoming book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, I describe how contemporary art has been weaponized into an assault on the culture:

“Unfortunately, a substantial disconnect exists between the widely held respect for art, and the alienation most serious contemporary art evokes when actually encountered.

Instead of being reverenced as a communion for all, contemporary art is being treated as a wedge, a social signifier of elitist attitudes. Officially sanctioned art is all too often based on theoretical formal matters and sociological notions designed to exclude, rather than engage, the general public.

Practically no one is paying attention to contemporary art other than a small bubble of artists, academics, cultural institution apparatchiks, trophy-hunting high rollers, and those who wish to vicariously participate in presumed sophistication.

Any art from outside this tight little cabal is treated as non-existent. Through their powers of finance and institutional control, this self-serving, out-of-touch elite presume to dictate art matters for the entire world.”

 

Banksy’s shredded painting is not art, but a con game, just another sting operation of the Big Store swindle.

It does, however, make for a nifty topical Halloween costume.

 

COMMENTARY: The Postmodern Establishment Wants to Exterminate the Experience of Art

Going Deep: An image from the Red Book of Carl Jung 

The war against the First Amendment has many fronts.  It’s become clear our right to freely express ourselves is being smothered by those who control the means of our communications. This stifling may have been subtle in the past, but no longer.

The New Aristocracy of the Well Connected, the class which dominates our government, media, tech  platforms, academia, and corporate boardrooms, are working in unison to suppress any Thoughtcrimes from spreading amongst the people. They can’t have any deplorable dregs of society dissenting from the totalitarian utopia being developed.

It has been become evident that the free flow of the Information Age has been stealthily blocked, filtered, and misrepresented to serve an agenda. The delusions being manufactured undermine our society; even our personal relationships are being soured.

However, “Empire follows art and not vice versa,”as the visionary artist William Blake noted. Enduring changes start in the arts. The signs that an unaccountable cabal was manipulating the culture into a state of uncomprehending submission  were evident in the antics of the establishment art world for at least the last century.

Many refer to any puzzling artwork as “Modern.” Modern art as a set of dominant ideas in the cultural elite also lasted about a century, but were pretty much wiped out by the 1960s. We as a culture entered a very different mindset, the clumsy power grab of Postmodernism. It’s the magical thinking of the ruling elites, who have decreed that they can alter reality with the sorcery of sophistry, and deny out of existence the eternal chains of cause and effect. The world has suffered greatly under this subversive hoax. Anything that could disrupt the systematic brainwashing of the populace was infiltrated and corrupted.

The arts were early casualty in the battle, targeted because true art is such a powerful threat to the elite’s influence and control. There has been no freedom of expression for decades in the establishment art world. It’s the personnel that matter. Only partisan fellow travelers get advancement and opportunities.

The cultural institutions have replaced art with artifice, an empty mimicry of the outer appearances and gestures of art, without partaking of any of its true substance and significance. Major museums try to conflate art with amusement park rides and political activism. Where once the ruling class subsidized creative geniuses like Michelangelo and Pablo Picasso, they now throw money at marketing hucksters like Jeff Koons,  propaganda shills like Banksy, and cynical nihilists like Damien Hirst.

These apparatchiks and others of their ilk can be counted on the enforce the status quo, and make the timeless human tradition of art seem off putting and banal. Postmodern art is a tool of oppression.

jk
Jeff Koons: A Pile of Inadequacy  

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Banksy: Know Your Place, Peasants 

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damien-hirst-shark
Tanked: Damien Hirst

The Postmodern establishment wants to exterminate the experience of art. They would deny our society the inspiration to live up to ideals, the encouragement to think and feel deeply, the yearning to harmonize with truth and beauty. They want us to stay shallow and distracted. Anything not subservient to the all-powerful groupthink is a dangerous blow against obligatory conformity.

The elites hate genuine art because it is beyond their control. As the great analyst Carl Jung stated, “To the scientific mind, such phenomena as symbolic ideas are a nuisance because they can not be formulated in a way that is satisfactory to intellect and logic.” Elitist minds are far from scientific, but they love pseudo-intellectual grandstanding, so they reject manifestations of humanity’s spiritual core. It’s why progressives lash out so viciously at profound human experiences like art, but also at religion, patriotism and family kinship. These feelings cannot be tamed into the passive slavery that is supposed to be our lot in life. The arts have been marginalized by the establishment’s relentless efforts to drain the soul out of everything.

Real art stirs a sense of mystery that is beyond any reply. It is just experienced. Great artists manage to transmit their own unique experience of the mystery into a form which others can partake in. Concepts arising from our unconscious are infinitely more meaningful than the social engineering gambits we are being forced into. This disconnect causes discontent, and so, from on high, there has been an all out effort to remove the chance anyone could have their mind expanded from exposure to artistic achievement.

It is impossible to eliminate our fundamental human drives for long. They’ll come back, with all the glory and savagery of nature, because the human unconscious is itself a force of nature. Art will come back into right purpose and application, and provide vital assistance in freeing other areas of life. Across the globe, in various ways, we are shedding the baggage and burdens our cultural administrators tried to bury us in.

Postmodernism is now the consensus worldview of the ruling elite. But far from being an unassailable citadel, Postmodernism is also the reason their current hierarchy is weakened, and failing. Their would-be tool of domination is destroying them. They’ve been hollowed out by their own corrupt pretensions; their collapse is inevitable.

Postmodernism is already dead; we just need to put a stake in its heart, vampire style, to keep it from continuing to wander around, feeding off of the living. And what comes post-Postmodernism? It is the dawn of a new era: the Remodern age.

As I describe in my upcoming book, “Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization,” it’s time to get happy again, and look to the potentials of freedom:

 

“This is our moment in the mighty continuum of art and life. Real art knows no boundaries; it communicates across all times, across all cultures. Art is as much an aspect of our species as the opposable thumb, and just as prevalent. The art world can be as big as all of humankind, if we do if right. Remodernism accepts responsibility for the art of our times, conveying the wisdom of tradition into the opportunities of the future. Remodernism is love made visible.”

Carl Jung discussed the archetypes, models for the human experience that exist in our collective unconscious. One of the archetypes of the West is the Dragon Slayer. Postmodernism is just the latest version of the world serpent, the force in life that seeks chaos and destruction. Our own inner nature tells us we are destined to prevail against this threat, but only through bold action. Art is a Remodern weapon we can wield.

Carl Jung Understood the West: Our Monsters, Our Heroes 

 

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