The Philosophy of a Greatest Hits Collection: My Best Remodern Review Essays

One Of My Favorite Paintings Ever:

Richard Bledsoe “Squidgate” Oil on Canvas 36″ x 48″

In music, a greatest hits collection puts together the popular songs of a group or performer into one convenient package. Sometimes a new offering or a rarity is added as a bonus, or the selection is out padded out with not-quite-a-hit tracks.

After 8 years of serious blogging, I realize some of my more significant posts get lost in the shuffle. They won’t come up in the Top Posts sidebar unless they get rediscovered and receive a large number of views in a short time period.

To share some highlights, I’ve added a Greatest Hits widget to the side bar of the Remodern Review.

Instead of going strictly just by the articles with the biggest numbers of clicks, this collection is curated with the articles which mean the most to me, in addition to having large numbers of views.

I will periodically update the list to rotate through my favorites. The first list includes:

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1917: A Shattering Discovery from the Year Art Went Into the Toilet

Marcel Duchamp was the precursor of today’s useless, corrupt art world. This article exposes his chicanery and the possible fate of the most infamous work attributed to him.

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COMMENTARY: The Doublethink Strategy of Cultural Elitists

Using establishment pet artist Tracey Emin as an example of Postmodern art as a tool of oppression.

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COMMENTARY: Establishment Art’s Ingrained Indoctrination and the Postmodern Manifesto

I’ve heard the authorship of the Postmodern manifesto is disputed. It doesn’t matter who wrote it; it is a deadly accurate description of the enemy’s mentality. Beyond Jordan Peterson’s devastating video takedown of Postmodern immorality, I have not found a better summary of the toxic philosophy which is destroying the world.

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Leftists Literally Evoke Satan to Save Their Collapsing Cultural Cabal

Take off the Postmodern mask, and it’s the same old liar behind all evil in the world.

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ARTISTS: Charles Thomson is Stuck in the Remodern

My interview with the cofounder of the Remodern movement. Thomson’s ideas and art are a great influence on me, it was an honor to get him to share some insights.

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I hope you enjoy some of my greatest hits!

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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a painting

Learn more About My Art: Visionary Experience

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

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The Remodern America Manifesto Part 3: American Renewal

Richard Bledsoe “Mothman” acrylic on canvas 24″ x 30″

When I published my 2018 book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, I concluded the work with a 10 point list I called the Remodern America Manifesto.

In this document, I provided a summary of what is wrong with the contemporary art establishment, proposed new solutions, and defended why art still matters. 

The first part of the manifesto defined the problems.

The second part describes the crisis point reached and what the turning of the tide will mean: a shift of our civilization from the Postmodern to the Remodern mode.

The third part describes the shared motivations of Remodernists, and what such a consciousness means in the United States. Although art is an international activity, Americans, with our freedoms and resources, should be leading the way.

  1. Remodernism is the open source arts movement for the twenty-first century. Remodernism began in London in 1999, first codified by painters Billy Childish and Charles Thomson as an alternative to the corrupt and out-of-touch establishment art scene. Remodernism recognizes artmaking as an inclusive, spiritual activity, and encourages a DIY mentality. Remodernism synchronizes with reverenced American values of equality, faith, action and initiative.
  2. Remodernism is the latest iteration of the American character: ordinary people working as explorers and inventors, optimistic, self-reliant and productive. The Remodernist artist formulates expressions of personal liberty in pursuit of higher meaning and significance. Remodernism is the pursuit of excellence. We don’t grovel before the current cultural gatekeepers, we want to interact with everyone. We are story tellers. We make a complex art for complex times. We are the swing of the pendulum.
  3. Remodernism is appropriate for America, a young nation in an ancient land. Remodernist artists wander through the ruins of fossilized civilization. With our own hands, we assemble from the debris affectionate homages to the human condition, works afflicted with humor and humbled by grace. We love where we’ve come from, and we preserve that love for the future to see. We invoke a respectful reverence for the past, for we accept we will be joining that infinite regression. We understand art is about the eternal.
  4. Remodernism is the return of art as a revelation. We are showing particular things about ourselves that can also be universally recognized. Our art symbolically represents flawed, searching humanity participating in birth, existence, growth, and death. It is mysterious and moving, comic and tragic, clumsy and elegant.Remodernism is a celebration of the beauty and weirdness of the life God has granted us.
  5. 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.

Many cultural critics discuss problems, but solutions are rare. The great thing about Remodernism, which encourages a DIY attitude, the power to make a difference goes back into the hands of people: artists and patrons alike.

This renewal is disruptive innovation applied to the corrupt and insular art market. and because empire follows art, as the visionary William Blake knew, when we renew the arts, we will renew our civilzation.

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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a painting

Learn more About My Art: Visionary Experience

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

The Remodern America Manifesto Part 2: Inflection Point

Richard Bledsoe “Hollowsaurus” acrylic on canvas 24″ x 36″ 2018

When I published my 2018 book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, I concluded the work with a 10 point list I called the Remodern America Manifesto.

In this document, I provided a summary of what is wrong with the contemporary art establishment, proposed new solutions, and defended why art still matters. 

The first part of the manifesto defined the problems.

The second part describes the crisis point reached and what the turning of the tide will mean: a shift of our civilization from the Postmodern to the Remodern mode.

  1. Art is a more enduring and vital human experience than the power games of a greedy and fraudulent ruling class. The managers crashed the culture in pursuit of their agenda. They defend their usurped authority and privileges with doublethink, misdirection, and intimidation. Their time has run out. Reality is crashing back through their carefully constructed facades, and a time of reckoning has come. Enduring changes start in the arts. Remodernism defeats Postmodern desecration.
  2. Remodernism reboots the culture. Remodernism is not a style of art, it is a form of motivation. We express the universal language of inspired humanity. We do not imitate what came before. We find in ourselves the same divine essence of love and excitement which has inspired masterpieces throughout history. We are strengthened by drawing on traditions thousands of years old. We integrate the bold, visionary efforts of the Modern era into a holistic, meaningful expression of contemporary life. Remodernism seeks a humble maturity which heals the fragmentation and contradictions of Modernism, and obliterates the narcissistic lies of Postmodernism. Remoderism is disruptive innovation applied to the moribund art world.

Many cultural critics discuss problems, but solutions are rare. The great thing about Remodernism, which encourages a DIY attitude, the power to make a difference goes back into the hands of people: artists and patrons alike.

This is an especially promising development for the United States, which the people will make back into the land of the free. The next stage of the manifesto, to be featured in an upcoming post, discusses change in America.

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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a painting

Learn more About My Art: Visionary Experience

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

The Remodern America Manifesto Part 1: Defining the Problem

Richard Bledsoe “Study for a World Review” acrylic on canvas 20″ x 16″

When I published my 2018 book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, I concluded the work with a 10 point list I called the Remodern America Manifesto.

In this document, I provided a summary of what is wrong with the contemporary art establishment, proposed new solutions, and defended why art still matters. 

It is said the first stage in addressing any problem is first admitting there is a problem. Theses are the three points which describe the current sorry state of the arts.

THE REMODERN AMERICA MANIFESTO

The Reconstruction of an Art of the People, by the People, for the People

1. Art is undergoing a crisis of relevance. Elitist malfeasance has marginalized the visual arts in popular culture. In doing so, the New Aristocracy of the Well-Connected block access to powerful resources. They 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. As a result, the mass audience has turned away. People instinctually reject the superficial and nihilistic contemporary art championed by an imperious would be ruling class.

2. Ruling class totalitarians use Postmodern art as a tool of oppression. Elitists have weaponized art into an assault on the foundations of Western civilization. This deceitful cabal seeks to destroy any principled perspective on the lies, manipulations, and abuses they commit. The scourge of Postmodern relativism as a cultural force is no accident; it’s a top-down driven campaign. Hyping soulless, unskilled art has a toxic, weakening effect on society as a whole.

Many cultural critics discuss problems, but solutions are rare. The great thing about Reomdernism, which encourages a DIY attitude, the power to make a difference goes back into the hands of people: artists and patrons alike.

The next stage of the manifesto, to be featured in an upcoming post, discusses those ideas.

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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a painting

Learn more About My Art: Visionary Experience

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

New Painting ‘At the Crossroad’

Richard Bledsoe “At the Crossroad” acrylic on canvas 30″ x 40″ 2022

In 2022 the major painting I worked on was a return to a subject explored in an earlier piece. While the story was the same, my approach to it and my experience in creating it were completely new.

I’ve loved blues music since I was a teenager in the 1980s; the first purchase I ever made in the genre was a cassette of the Robert Johnson compilation “King of the Delta Blues Singers.” I’d read about the legend of how Johnson went to a crossroad and sold his soul to the devil in exchange for worldly glory. The tale resonated with my interests in both spirituality and weirdness.

Those same fascinations drive my art.

I’d painted the scene “At the Crossroad” in 2013, shortly after I switched from oil paints to acrylics. The title was a quote from Johnson’s song “Cross Road Blues.”

Richard Bledsoe “At the Crossroad” acrylic on canvas 24″ x 30″ 2013

I did not have the painting in my possession long. It sold the first time I exhibited it, to a nice young couple I’d never met before. I do not know its present whereabouts.

I’m not sure of the exact dates, but in early 2020 I began a new major work, based on another aspect of the Robert Johnson legend and another song lyric: “Hellhound on My Trail.”

This painting took until April 2022 to complete, incorporating long fallow periods when the work went untouched for months, as I focused on other paintings.

Richard Bledsoe “Hellhound On My Trail” acrylic on canvas 30″ x 40″ 2022

It was the biggest painting I worked on during the whole plandemic scare, always hovering incomplete in the background as I cranked through numerous smaller pieces.

When I finally posted the completed version of “Hellhound” on my blog, it also sold shortly after its public debut.

Not only that, but the patron who purchased it had a request for a prequel and a sequel for the image created. He wanted depictions of both the initial crossroad meeting and the ultimate consequences, when the devil comes to collect.

I am an intuitive painter. In my 2018 book, Remodern America: how the Renewal of the Arts Will change the Course of Western Civilization I wrote about where I get my images:

“I have visions. They come at the most random times. I could be washing the dishes, or driving to work, and suddenly the picture is there. It usually arrives now with a title, dimensions and suggestions for technique.”

I was fortunate that I was given a vision to fulfill the patron’s request. My original “Crossroad” painting was for me a depiction of the musician as universal man realizing the power and disaster of the bargain already made. The new version would be that moment where the man had to make that choice, hesitating right on the threshold of destiny and damnation, all taking place as some eerie moonlit blues.

The devil is grinning of course because he already knows how this story ends.

Once I saw the drama of these two figures coming together, I know I could make the piece.

I obtained another 30″ x 40″ canvas so the series of paintings would match in size. I began working on it in early June 2022, and completed it December 10, 2022.

The painting went through many stages of development.

This has been a very hard year in so many ways. Throughout it all working on this painting, finding the beauty in it, was a source of joy to me.

I hope we will proceed with the third one, which I also have a vision for. The title is another Robert Johnson lyric: “I Believe I’m Sinking Down.”

In my reading, I came across Psalms 1, which I feel encapsulates the story told in these three paintings:

1 Blessed is the man that walketh not in the counsel of the ungodly, nor standeth in the way of sinners, nor sitteth in the seat of the scornful.

2 But his delight is in the law of the Lord; and in his law doth he meditate day and night.

3 And he shall be like a tree planted by the rivers of water, that bringeth forth his fruit in his season; his leaf also shall not wither; and whatsoever he doeth shall prosper.

4 The ungodly are not so: but are like the chaff which the wind driveth away.

5 Therefore the ungodly shall not stand in the judgment, nor sinners in the congregation of the righteous.

6 For the Lord knoweth the way of the righteous: but the way of the ungodly shall perish.

“At the Crossroad” is walking into the counsel of the ungodly.

“Hellhound On My Trail” is the restless wanderings of guilt and sin, like the chaff driven by the wind.

“I Believe I’m Sinking Down” is the perishing of the ungodly way.

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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a painting

Learn more About My Art: Visionary Experience

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

Ever Get the Feeling You’ve Been Cheated? How the Art World Showed Us It Was Coming

No Fun: Rotten Reflects

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“Ah ha ha. Ever get the feeling you’ve been cheated?”

So said John Lydon, AKA Johnny Rotten, lead singer of the Sex Pistols, as he squatted on the edge of the stage at San Francisco’s Winterland Ballroom. It was the end of the band’s 1978 tour of America, and the end of the Sex Pistols too. Despite cashing in with member berry reunions in the 1990s and early 2000s, the Sex Pistols were spent as a creative force.

Lydon’s meaning was ambiguous and therefore multifaceted, open to interpretation. Was Johnny mocking the audience for enduring a lackluster performance from the group? Was he talking about himself, and how he had been manipulated by his scheming manager? Or was he still proclaiming the punk wake up call that the powerful are abusing the people?

All three possibilities can be true. In that moment the Pistols were still the unwitting oracles of art, acting as puny transmitters of cultural forces which rocked the world.

Johnny Rotten was a symbol not a just a man. This dead end Irish kid briefly manifested therapist Carl Jung’s comments on the role of the artist:

“Art is a kind of innate drive that seizes a human being and makes him its instrument. The artist is not a person endowed with free will who seeks his own ends, but one who allows art to realize its purpose through him. As a human being he may have moods and a will and personal aims, but as an artist he is ‘man’ in a higher sense— he is ‘collective man’— one who carries and shapes the unconscious, psychic forms of mankind.”

Those who’d claim the Sex Pistols and punk in general were never a creative force to begin with just needs to look around at the world today. The music still gets played, the stories are retold. It is part of who we are now as “collective man.” It has endured the test of time, the most telling measure of art’s effectiveness.

Vast numbers of people display the tribal garb of artificially colored hair, torn clothes, tattoos and weird piercings that once signaled a determined, tiny subculture of would-be rebels.

The look is a cliché now, pure mainstream. A chuck of the populace is walking around wearing the skinsuits of a few outsiders who got aggressive and defiant about being cast as losers by the status quo, and decided make a visible and noisy issue out of it.

You might not like punk, but it prevailed. We as a people were transformed because it is art that shows us how to be. “Empire follows art, and not vice versa” was the assertion of an earlier rebellious English artist, William Blake. Empire in this quote can be read not as a specific political entity, but as the unifying ideas which direct a civilization. Hegemony is the word academics use for it.

Another Jung quote about art’s power is “All art intuitively apprehends coming changes in the collective unconsciousness.” Unfortunately, for over 100 years, the elites have been showing us through the art they promote their collective unconscious consists of an authoritarian insistence to worship power, enforced by fraud and force.

Galleries and museums are now chock full of off-putting and incomprehensible junk with insane valuations. The only reason it can be recognized as supposed art is because it is in a gallery or museum, placed there by the consensus of corrupted cultural institutions. Some examples of typical Postmodern masterpieces:

Maurizio Cattelan “Comedian.” Not funny.

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Performance Artist Marina Abramovic. She’s Definitely Not A Satanist or Anything Though

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Yet Another Banksy Half Assed Editorial Cartoon

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Huckster Jeff Koons

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We are being told to accept the lie that absurd trash is art because those in charge tell us it is. If we can’t see the validity, that is our problem for not being sophisticated enough to enjoy the emperor’s new clothes.

The establishment ordering us to accept fraud as art can be extrapolated into ordering us to accept the fraud in our elections. Once we capitulated to the first big lie, the rest come easier.

This Postmodern model, which demands we believe the groupthink dictated from on high instead of trusting our own eyes and instincts, has expanded outside of the arts and now is a global operating system. As I described in my 2018 book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:

The arrogant ruling class is possessed by Postmodernism. They’re all in on the idea that tearing down the traditions and standards of Western civilization will cement their grasp on unaccountable power.

Once you understand that, the promotion of Postmodern art as the pinnacle of artistic achievement becomes understandable. It explains the Orwellian efforts behind the elevation of mindless attention-seeking as an attempted substitute for values, achievements and principles. Hyping soulless, unskilled art has a toxic, weakening effect on society as a whole.

Postmodern art is a tool of oppression.

Postmodern power relies on the people’s acceptance to dwell in an artificial construct shaped by the preferences of the powerful. This fake world just swallowed up yet another election here in the United States, and we are expected to go along with it.

The country is a mess, everything is going wrong, and in defiance of all historical trends, red tsunami pre-polling, and common sense, we are expected to believe we all voted for more of the same. To add insult to injury, the fake president told us they were doing it again.

Unfortunately, as far as punk versus the corrupt status quo went back in the day, real reform is much harder to transmit than making a fashion choice. But art is once again showing a rising transformation which will rock the world.

In 2000, two English artists, Charles Thomson and Billy Childish, described a principled practical alternative to Postmodernism when they described an artistic philosophy they called Remodernism. Remodernism is a reboot of the culture which will wipe out the virus of Postmodernism. It was the harbinger change is coming to the collective unconscious.

Even those mainstreamers who’ve adopted the punk costume may intuitively know it means defiance. They are just unclear who it is they need to defy.

Our empire will follow art away from lies and back to authenticity.

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

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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a painting

Learn more About My Art: Visionary Experience

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

Revisiting the Resilience of Painter Philip Guston

I originally posted this commentary and link on January 23, 2021. It was a dark time in our country, and I wanted a project to focus on, to add some positive content to the world.

It was the first post of what I called my “Daily Art Fix.” After that first entry, I continued to put up an art themed post every day for over a year, until February 24, 2022. On February 25, we lost our internet connection for 12 days. Thieves had stolen vital equipment that knocked our whole neighborhood out.

By the time the internet was restored I had lost the inclination to produce the Daily Art Fix. I’ve been keeping busy on many other projects: painting, writing, planning.

So here we are on another dark day, when thieves have struck again on a massive scale. It’s time to revisit that story of resilience.

We go on.

GUSTON PHILIP_Crop_Web

‘THERE IS SO MUCH TO DO—IT IS ALL BEGINNING!’

Philip Guston Explains Himself

My favorite painter Philip Guston caused great controversy when he broke with art world dogma to be true to his own vision. In this touching article written by his daughter, she describes how he handled the fallout.

Key quote from the article:”Recalling the Marlborough opening in a 1980 interview, my father said:‘But there were some who understood. When Bill de Kooning saw the show, he said he liked it very much. You know, everybody thought those paintings were about the hooded figures, and the bad conditions in America, and so on, and that was part of it—every artist hopes to give his own interpretation of the world—but they were about something else, too. When de Kooning saw the show, after embracing me, and congratulating me, he said: ‘You know, Philip, what your real subject is? It’s freedom!’’’

READ THE ARTICLE HERE: Resilience: Philip Guston in 1971, By Musa Mayer

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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a painting

Learn more About My Art: Visionary Experience

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

Stupid Climate Activists Make Stupid Attacks on Art

Art world links which caught my eye…

An Ignorant Assault On Civilization

For some reason environmental cultists have decided art vandalism is a nifty PR stunt for their hoax of an emergency.

The Washington Post covered the most recent revolting action in London where two “activists” from Just Stop Oil threw tomato soup on a Van Gogh sunflowers painting, and then glued their hands to the wall.

The painting was safely behind glass, and was not damaged.

Newsweek notes there have been about dozen of these attacks. So far no art has been damaged, but it seems like only a matter of time before these assholes escalate and maim something irreplaceable.

Being the darkness that makes democracy die, the Washington Post of course accepts the protesters’ wild climate premises.

Since the pandemic failed to crush society into a decimated docile serf class, now the elites have had to replace one overblown crisis with another. They’re trotting out the exhausted old climate change tropes again, but this time the kamikaze Marxists occupying the governments of the West are flying into action. They intend to catastrophically starve their populations of food and energy now to prevent imaginary problems in the future.

Astroturfed entities like Just Stop Oil and state run media like the Washington Post are sleeper cells that have been activated to reinforce the top down message of assumed doom. The hype generated provides a fig leaf for the disastrous deindustrialization the WEF insists on.

Columnist Philip Kennicot spouts the propaganda:

“When I see activists attack art, I feel the same revulsion most people do — and the sense of revulsion seems to be general and widespread. After two young supporters of the climate-change advocacy group Just Stop Oil threw cans of tomato soup Friday on a painting by Van Gogh in London’s National Gallery, social media accounts erupted in outrage. Much of this was from people who are no less committed to stopping global warming, including much of the art world, where the climate emergency is at the top of the agenda for many artists, curators and critics.

“But while I can’t defend the acts of Just Stop Oil, I can defend the anger of its supporters, who will experience the effects of global collapse further into the future than I will. They must grapple with existential decisions unprecedented even during some of the worst crises in human history, including whether to have children and continue the species, or to forgo offspring whose lives may be short and miserable.”

Kennicott’s big problem with the assaults on artistic masterpieces is that the vandals are preaching to the choir. The Postmodern art world already enforces adherence to leftist dogma as a prerequisite for participation. He protests that establishment art enthusiasts and cultural institution apparatchiks most likely embrace the climate alarmist narrative, and don’t need their opinions and actions tweaked by threats.

“Art attacks seem to be increasing. In July, the Italian group Ultimate Generazione (or Last Generation) directed its ire against Botticelli’s “Primavera” at the Uffizi Gallery in Florence, and in August activists from the same group glued their hands to the base of an ancient statue at the Vatican. All this is misdirected and counterproductive. It makes the urgency of the crisis seem ridiculous to people who are already disinclined to give credence to the science of global warming. And they create a false moral choice for those who love both art and the environment.

“As 21-year-old Phoebe Plummer, one of the two activists in London, asked during Friday’s incident, ‘Are you more concerned about the protection of a painting, or the protection of our planet and people?’ The premise of her question, and the people whom she was addressing, are both poorly chosen. Very likely, given the self-selecting audience that visits the National Gallery, most of the onlookers would say: ‘Both.’

But the most disgusting part of the article is when Kennicott claims the defilers are attacking art because they just care about it so much. It’s classic abuser gaslighting.

“And if you look more closely at how these attacks are executed, it’s clear they express more a desperate love of art than mere rage or contempt for it.”

A twitter post summed up the reckless delusions of these masterpiece menacing guerillas.

The clueless crusaders don’t realize stopping oil without any effective, scalable replacement technologies means the death of millions and even civilization itself.

Radicals coined the term “useful idiots” to describe the dolts they tricked into advancing their agendas. I think we can remove the useful part.

In my 2018 book Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, I foresaw what actions the left would take, and what the stakes were.

The Modern age was the greatest liberation of humanity in history. As we became more efficient in providing the necessities of existence, we had more freedom to determine what kind of lives we wanted to live.
As Modernism rose to highlight the potentials of individual initiative, leftist political movements counterattacked. Their goal was to squash humanity back into undifferentiated, subservient masses.
The elitists understood to maintain power, they had to undermine resistance. That’s why the top down cultural forces have made Postmodernism so prevalent.
Using mass media to communicate their sickening message, the establishment made dispiriting Postmodernism the terrain we all must navigate, the atmosphere we all must breathe, the environment we all must adapt to.
But this effort at control loses its presumptive prestige once its mechanics and motivations are exposed. How can the spell of Postmodernism best be broken?
You can’t beat something with nothing, even if the something is as stupid and unfulfilling as Postmodernism. A credible alternative must be established.
Remodernism is the recognition that Western civilization is still mighty. Remodernism knows we can still use our talents to create unprecedented growth. Remodernism is understanding our best days are still ahead of us, if we make the right choices, and do the needed work.
We will demonstrate this in art, to begin with. Imagine a new, decentralized creative class not invested in trashing our culture, but in celebrating it. What a choice to present to our citizens. Uplifting, honest artistry will change the tone of our entire society. Where we go one, we go all.
Renew the arts, and renew the civilization.

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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a painting

Learn more About My Art: Visionary Experience

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

“The Gift of Art” A Pop Up Gallery Experience at Seeds for Autism

The Gift of Art: A Pop-Up Gallery Experience at SEEDs for Autism is a special one night only art exhibit featuring the work of local community artists and adults on the autism spectrum, on Friday, October 14, 2022, 6pm to 8pm.

“At SEEDs for Autism we understand that art is a powerful form of communication. Art encourages creativity and self-expression. Art stirs the imagination and helps us grow as we engage with other artists, improve our skills and create beautiful pictures to share with the world. THE GIFT OF ART features the work of local community artists, SEEDs Instructors and students. Please join us on October 14th and be a part of this exciting one-night-only art show at SEEDs for Autism.”

A pop up gallery is a temporary art show held in a non-traditional location. Local artist Richard Bledsoe described how Seeds for Autism is an ideal venue for an art exhibit. “I’ve seen lives transformed by the programs at Seeds for Autism. One of the biggest factors I see in this progress is the hands-on work Seeds emphasizes. As a painter, I understand the personal growth which happens when you engage with the material world. The making and viewing of art inspires kinship for all participants. We are grateful to Seeds for providing this opportunity to bring the community together.”

SEEDs for Autism is a unique vocational training program in Phoenix, AZ dedicated to providing adults across the spectrum with hands-on experience as they learn a variety of life skills, social skills and job skills in a real-life work environment. Through the production and sale of their hand-crafted home and garden items, adults on the autism spectrum build self-confidence as they step outside of their comfort zone and GROW.

Featured Community Artists: Richard Bledsoe, Michele Bledsoe, Jeff Falk, Shelley Whiting

50% of all Art Sales will be donated to support the life-changing program at SEEDs for Autism.

ADMISSION is FREE

Richard Bledsoe “Rex” acrylic on canvas 24″ x 30″

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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a painting

Learn more About My Art: Visionary Experience

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

My Second Favorite Living American Artist

In my 2018 book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, I recounted a true story that showed contemporary art is in a crisis of relevance:

“A few years after our time at Citywide, Michele and I helped found and run Deus ex Machina, a cooperative art gallery in downtown Phoenix. It was a very active space. In addition to being my oil
painting studio, we held monthly art exhibits, special performances, poetry readings and gaming nights. It was a wonderful experience for the five years it was open.

“We took part in the free art walks held each First Friday and Third Friday of the month. As Phoenix has one of the largest art walks in the country, we could have hundreds of visitors on the busiest nights.
Many were other artists and scenesters, who attended consistently for gossip and free wine. But I was excited by the numerous guests we had from outside the art bubble.

“These regular folks were out for an entertaining evening, and perhaps something even more significant. It confirmed for me there was still an interest in art.

“At our exhibits I’d get into conversations with these people. Unlike my social network, these visitors didn’t treat art as a vocation. They had different priorities in their lives, different interests, other passions and skills. But they turned out for an art show. These patrons were curious and receptive; they were there to see what art had to offer them. I was happy to engage with them. I wanted to give them a warm, positive experience of art.

“While discussing the gallery and the art on display, I’d do a little experiment with my guests. I would ask this type of visitor a simple question: ‘Who is your favorite living American artist?’

“No one who wasn’t already part of the art scene ever had an answer to that question.”

I’ve written before on how art, a practice literally as old as humanity itself, became irrelevant.

But while it’s easy to criticize the failures of art in the 21st century-which are really failures and sabotage committed by agenda riddled Postmodern administrators-it’s harder to cite positive examples. Who are my favorite living American artists?

My favorite is my wife, Michele Bledsoe. Her work just continues to get more amazing.

Michele Bledsoe “Messenger” acrylic on canvas 6″ x 6″

It’s been hard for me to get excited about many other artists I’ve heard about recently. But currently there is a contender for the number 2 spot.

I’ve known about musician/actor/artist John Lurie for many years. If you want the details and some very interesting stories, a great review of his life and career can heard in this YouTube podcast post: WTF with Marc Maron – John Lurie Interview

Due to health issues, Lurie now pours most of his creative output into paintings. I get so excited by their freedom and complexity, it occurred to me Lurie may be my second favorite living American painter right now.

As an intuitive artist, I believe artworks need to speak for themselves. Here are some John Lurie images from his website.

See if you see the same magic I do.

“I play music, I paint – these things come from your depths.”

-John Lurie

John Lurie “Purple panther, with brick head, exploding with speed” watercolor and gouache 22”x30”

art

John Lurie “Two dancers. Antiques. Some suitcases. A parrot. And a blue mess” watercolor and gouache on paper 24″ x 18″

art

John Lurie “There are things you don’t know about” watercolor on paper, 20″ x 14″

art

Recent works from John Lurie’s twitter feed

John Lurie “She loved him madly.”

John Lurie “Skeleton in my closet, at home in the garden.”

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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a painting

Learn more About My Art: Visionary Experience

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!