The Ace of Spades HQ Mid-Morning Art Thread is Fighting the Culture War

 

Art is for Morons at AoSHQ 

Art

Long before a certain drunken would-be tyrant segregated huge segments of Americans into a basket of Deplorables, some brave souls had already self-identified as a Moron Horde.

This endearment refers to the proud followers of the mighty  Ace of Spades HQ blog.  It’s a site I visit multiple times daily, eager for the latest sardonic commentary on the news of the day. The humor there is biting, the wit caustic, the tone irreverent. Ace is a nice counterbalance for all the serious yet prim hot takes offered throughout so many other sites of the conservative blogosphere. Because despite it’s studiously immature style, the analysis on Ace is sharp and illuminating. Its consistent disrespect towards pretentious elites is a fine old American tradition, and is especially needed these days, as we enter a new phase of the existential struggle for the future of this nation.

As an artist, a regular feature of Ace caught my attention. It’s called the Mid-Morning Art Thread. Usually on weekday mornings, after an effective aggregate of the daily news arranged by moderator J.J. Sefton, another moderator, CBD, posts an image of a work of art to start a new thread. (CBD stands for “Charlie Brown’s Dildo.” That’s a mental image I work very hard to resist.)

A great range of works have been displayed, from Old Masters to art of this century, and everything in between. Occasionally a contributor named Kris will add some intelligent art historical analysis of the piece. The self proclaimed Morons are free then to comment, though it is requested the first 100 comments stay on the art topic at hand. Once a new thread gets started later in the day, comments are closed for the Art thread, so time is short. Being Ace, the commentators don’t hold back.

The art works offered up inspire snap judgments, a whole range of reactions: praise, abuse, informed anecdotes, puns, limericks, lewdness, inside jokes and pop culture references all appear in rapid fire succession. It’s endlessly entertaining. But I feel there’s something important happening here, mixed in with the calls for “more bewbs” and warnings about where snipers might be concealed in the artistic scenery.

I’ve written before about how the Postmodern establishment is working hard to exterminate the experience of real art from our culture. They believe, correctly, that losing art will undermine our society, and make us easier to control. They have been hugely successful.

For example: Quick, name your favorite living American artist.

If you are like most people I’ve met from outside the art bubble, you can’t do it. You don’t have one. Elitist mismanagement has marginalized the arts in the West, and caused a crisis of relevance. We have not lost art, it has been stolen from us.

Part of this theft is to cut us off from our artistic heritage, the art of more creatively accomplished ages not degraded by the Postmodern disease. Per the latest corrupt Ivy League agenda, the soaring achievements of the past are now nothing but grist for the grievance mill, yet another field to be choked out by Wokeness.

Another part of the stealing of art has been accomplished by over-intellectualizing it. The assumptions of academia have indoctrinated us all into the “correct” ways to think about art. This pedantic approach is used as a weapon to convince people art is not for them, just because they don’t “get” the pieces of politicized crap our cultural institutions have inflicted on us as surrogates for real art.

The Mid-Morning Art Thread is a remedy to that totalitarian snobbery. It gives us a straightforward presentation of our legacy, offered up freely to the public for their insights, appreciation or rejection, no Yale stamp of approval needed.

People don’t need to “get” real art; you experience it. It’s a visceral reaction, open to everyone. Honestly it’s probably impossible to put into words just why it makes you feel the way you do, but you know it when you see it. The more you see of it, the richer your life becomes.

The elites want you to live in spiritual poverty. By consistently putting artworks in front of an audience that might not have realized how art is vital to their human development, the Ace Mid-Morning Art Thread is creating wealth beyond measure. These sarcastic Moron pundits are doing their part to carry on the glory of Western Civilization, at the same time our ruling classes are doing their worst to try to bring it down.

As I state in my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization: 

Postmodernism has been a Trojan horse for the same old power games that have kept humanity at bay for eons. Postmodernism is a betrayal of America’s ideals and accomplishments; Postmodernism has caused much damage acting treacherously from inside our own cultural institutions.

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. Remodern Americans will carry on, better than ever.

 

 

Edit: 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 paintingPlease send any inquiries to info@remodernamerica.com. Thank you!

While Yoko Ono Makes For an Amusing Meme, There is Nothing Funny About Her Radical Roots

Imagine Yoko Ono Was An Artist

I Wonder If You Can 

In 1966, long before some art scene shyster taped a banana to a wall for a $120,000 tally, a Japanese artist offered up her own fruity display in a London art gallery.

Art

Wikipedia gives a deadpan description of the alleged artwork, Apple: “The work consists of an apple on top of a plexiglass stand. A brass plaque bearing the word ‘APPLE’ is fixed to the front of the stand.” Just in case you couldn’t tell.

Art Yoko Ont

This apple caught the eye of Beatle John Lennon. It inspired a meet-cute moment between the artistes, when the cheeky Lennon took a bite out of the display, to the annoyance of its presenter, Yoko Ono. Of course, she forgave him, and the rest is history.

Art Yoko Ono

(As an aside, this produce did not produce the name Apple Corps Limited, the music corporation of the Beatles. Paul McCartney had basic beginnings in mind, as in the primer mantra “A is for Apple.” Plus he was inspired by an actual work of art, Le Jeu de Mourre, a painting by Surrealist Rene Magritte.)

 

Rene Magritte, Le Jeu de Mourre

This is an Apple, Not a Banana

The subsequent Lennon/Ono partnership is often blamed for the breakup of the Beatles, although there were many other factors festering within the group itself: personal rivalries, the death of band manager Brian Epstein, fallout from an unsuccessful dalliance with an Indian guru, and scads of LSD have all been noted. An acid-fried brain could explain how Lennon fell so completely in thrall with a Conceptual Art con artist, to the point of abandoning both his family and musical brothers.

Post Beatles, John and Yoko strayed into heroin, agitprop politics, and avant-garde posturing. It was an era of radical chic, and they followed the trends. Footage of angry and unstable Lennon raving about peace and love is a great example of cognitive dissonance. Like all the other anti-war activists, the celebrity couple were either dupes or willing advocates not for peace, but for the victory of communist totalitarianism.

Ever since Yoko Ono rose to prominence, fairly or not, she’s become a trope. To call someone a Yoko implies they are an off-putting, gold-digging interloper who sabotages a successful person’s situation.

Yoko Ono Art

Yoko Ono Art

That reputation inspired the meme currently circulating regarding the whipping of the Harry Formerly Known as Prince.

Yoko Ono Art

Yoko Ono Art

Yet Ono did largely give up her own art career in favor of performing collaboratively with Lennon. She added her avante-garde vocal stylings to Lennon’s recordings, wailing like Woody Woodpecker hammering away at John Cage’s skull. Without her infamous caterwauling, the New Wave dance band the B-52s would have lacked a key influence for their sound.

Because of Yoko’s sacrifice, we were deprived of more gems like Apple, and these other masterpieces:

Cut

The artist stripped bare by her audience, even. A performance where spectators were invited to snip away Miss Ono’s clothing piece by piece.

Yoko Ono Art 

 

Object in Three Parts – Revolution

A display of the pill, a condom, and a diaphragm. How hard was this to conceive?

Yoko Ono Art

Painting to Hammer a Nail

Another participation piece, where patrons can create their own nail art. (Some assembly required).

Yoko Ono Art 

Yoko Ono Art 

Bag Piece

In which Yoko put herself into a big bag in public, for reasons.

Yoko Ono Art

Anyone not part of the Postmodern cult would scoff at such absurd gestures and banal results. And yet, ironically, Yoko Ono was actually far ahead of her time, as far as the arts establishment is concerned. Her obnoxious mix of underdeveloped offerings, woke politics, and defensive obliqueness are the common poses affected in the bleeding edge contemporary art scene today. Where Yoko herself learned these strategies is a troubling heritage.

Yoko Ono Art

Yoko Ono originally gained notoriety as a member of the Fluxus art movement of the swinging 60’s. As part of the elite’s on-going mission to remove concerns like technical prowess  and coherence from art, Fluxus was celebrated as a Dada do-over, yet another challenge to the stuffy idea that art involves the skillful creation of a tangible object.

Yoko Ono Art

In addition to promoting Conceptual art, the Fluxus community was identified by founder George Maciunas as a radical leftwing movement, dedicated to spawning art communes modeled after the glorious collectivist farms of the Soviet Union. When attempted, these ventures predictably failed to thrive.

Yoko Ono Art 

Maciunas created a manifesto to hype his ideas. Filled with Marxist fervor, this slight and incoherent rant gave insight into the radicals’ methodology: they would seize power by destroying the legacies of Western civilization. This would be accomplished by the rejection and manipulation of commonly understood language and concepts.

 

 

I Read the News Today, Oh Boy:  A Maciunas Fluxus Manifesto 

Unfortunately, “Empire follows art and not vice versa,” as the visionary artist William Blake observed. The mid-century leftist partisanship, misdirection and deconstruction enacted by a bunch of pretentious flakes in art galleries snowballed into the standard operating procedures of our institutions today. As I state in my 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.

But what about Yoko? One can’t coast on reputation forever, so she occasionally tries to hammer out another artwork.

In 2012, in the spirit of mushy multicultural Londonistan’s take on the Olympics, Yoko was trotted out as a Postmodern Old Master. Her new work To The Light  consisted mainly of three heaps of dirt, a faded vintage War Is Over poster, and lots of hype around the empty slogan “Imagine Peace,” which was conveniently available on commemorative towels and water bottles .

It’s amazing Yoko’s still producing work of the same quality that she did in the 1960s! And by same quality, I mean a total lack of it.

One can only wonder if the 100 million victims of the communist collectivism she advocates are part of her imagination.

To the Light

Ono She’s at It Again 

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

THE AWFUL ARTIST BEHIND THE $120,000 BANANA

 

 

Tally This Banana

It was the zany story of the week. A prank so dumb, it was like it was tailor-made for Morning Zoo DJs.

At the glitzy swap meet of Miami Basel, a contemporary artist offered a banana duct taped to a wall for $120,000.00. The punchline is, somebody bought it.

This is about the only scenario when contemporary art gains mass media traction: when something stupid sells for lots of money. Then it becomes a snarky variation on a human interest story.

The fruit is a big hit. It’s called “Comedian,” which is a valid accusation. It was an edition of 3, and the whole bunch sold, each with their genuine certificate of authenticity. A performance artist tried to hitch his wagon to this star by eating the banana. He was not arrested for the art theft. A crisis was averted when the piece was reinstalled by simply taping another banana up.

Ultimately the fruit had to go, after admiring crowds could not be peeled away from it. It was quite the Snapchat destination for fair attendees.

These days, what else do you need?

This silly conceptual piece is actually behind the times. Our Marxist tainted cultural industries are hyping that the hot action now is in political art, and identity art, and identity politics pretending to be art. Putting out a goofy art object that presents kitsch as an ironic comment on the evil of market forces is so 2013. It’s also a lot tamer than other pieces this particular Italian artist is infamous for.

Maurizio Cattelan is what they call Conceptual. He doesn’t make the art displayed with his name on it. He just has an idea. He can’t be bothered to learn any of the skills needed to present the idea, so he hires people with actual talent to make it on his behalf. I don’t think he even taped the banana to the wall himself.

We laugh at this guy, and the dolts that paid him, but there is something more sinister inherent in this not-so-cheap gag. Cattelan’s body of work reveal him as a partisan for the destruction of our culture. The Postmodern crusade is waged on all fronts. It’s a relentless attempt to belittle and bully us all into submission.

The banana is just the latest variation on the endless Leftist quest to undermine and stifle human achievement.

These other works made in the name of Maurizio Cattelan demonstrate his character.

Like Pope John Paul II, crushed under a meteor.

Maurizio Cattelan, The Ninth Hour 

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Or school boy Hitler at prayer:

Maurizio Cattelan, Him 

Or a big American style FU to the Italian Stock exchange.

Maurizio Cattelan, Love

Duty and nature both call a policewoman. What is it with these elitists and their scatological fixations?

.-

Maurizio Cattelan, Petra

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Another one. His tribute to the United States, a golden toilet. Bonus: this one was used by the Guggenheim to insult Orange Man Bad! 

 

Maurizio Cattelan, America

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Our establishment wants to exterminate the experience of real art from our lives. Promoting junk like this keeps art safely irrelevant, a timeless human engagement rebranded as a weird plaything for the wealthy. As I state in my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:

“The establishment art world is just another brigade of shock troops serving the elites. All the administrators want is to preserve the status quo of their ill-gotten and severely abused authority. The apex operators of the global Postmodernists are ruthless in advancing their own interests, and will use any and all tactics available for their own advantage. Postmodern art is one of their weapons.

“Under the malign influence of Postmodernism, we’ve been lied to about the nature of creative expression, seen our culture cheapened into an elaborate swindle, and even had art itself betrayed into a form of abuse.”

The good news is the upheavals occurring across the globe show the Postmodern delusion is in its death throes. The nasty deconstruction typified by artists like Cattelan is at a dead end.

The bad news is the destruction that may happen during this massive shift of consciousness. The new times beginning, the Remodern era,will be an age of reconstruction.

It’s a vast project, but uplifting, honesty artistry will be needed to bring unity to our communities.

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

Films Like The Lighthouse and Joker Signal Postmodern Totalitarianism is Losing the Culture War

The Lighthouse: A Beacon, a Warning

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Most movies fail to achieve the status of art.

Film evokes a passive experience in its viewers. For a set period of time stimulating imagery washes over us, engaging on a superficial level, holding our attention by prodding our lizard brains with safely contained visuals of action, conflict, or eroticism.

Real art isn’t a transitory activity, relaxing while absorbing an overload of tricks and mock thrills. Experiencing real art is a slow, internal realization that grows and expands. It changes us. It takes us outside of time.

One of the main themes of this blog is that the ruling class establishment is working mightily to purge the experience of real art from our culture.  They’ve managed to make the enduring human activity of art into something isolated and irrelevant. Removing art from the people facilitates the elitist intent to lord over a befuddled, ignorant, and dispirited populace.

That being said, I don’t look to the film industry to deliver art. I like to be entertained too. But even that enjoyment has been harder to find over time. Mainstream movies have degenerated into virtue signalling wankfests, pandering to the sensibilities of woke critics and decadent yet sanctimonious industry insiders. The ruination of the movies is just another aspect of the Postmodern totalitarian gambit.

Hollywood is horrible these days. More and more productions are reduced to shrill leftist political proselytizing. It’s not like this is what audiences want either; this is a top down driven campaign. The New Aristocracy of the Well Connected are determined to shove their propaganda down our throats through every aspect of communications in their control. Thanks to the success of the Long March Through the Institutions, they pretty much control them all. Not only movies and art, but the media, government, academia, big tech, corporate boardrooms, and non-profit agencies are all in lockstep, driving the cultural Marxist agenda.

The market is glutted with homogeneous films, endless rehashes seasoned with heaps of obligatory politically correct posturing and diversity scoring keeping. It doesn’t even matter when the audiences reject the offerings. The globalist corporate studios are so huge they can afford to take a financial hit when their crappy agitprop movies fail. I’m very suspicious of book cooking and money laundering in the reported bottom lines anyway. How much of a contemporary movie’s box office comes from the manipulated Chinese marketplace? There a Hollywood movie may do well-if the ruling Communist Party wants it too. What should that tell you?

After seeing Star Wars in 1977, I spent most of my formative years dreaming of making movies. I still follow the film industry, keeping current with upcoming productions and results. It was only after I discovered painting in college that I found a better way to show my visions to the world without having to chase down expensive equipment and funding. Being a painter is an individual journey to a much more profound destination. It does not demand the compromises of working collaboratively. I recently stumbled across a small piece of evidence on how the movie producing scheme is now unfolding.

I follow film reviewer Chris Stuckmann on Youtube. I don’t always agree with him, but he presents his analysis with integrity, good humor, and a strong knowledge of film history and technique. Stuckmann wants to do more than just talk about movies. His channel covers his ongoing efforts to make his own films. I would love to see what would happen if he got a chance to apply his cinematic insights onto his own creations.

Towards the end of a recent review of a poorly made horror movie, Stuckmann gave a telling quote about what is happening behind the scenes. Pointing out an irrelevant #MeToo story line that was shoehorned into this cheap thriller, Stuckmann explains the feedback he’s been receiving from studios:

“This subplot has nothing to do with the movie, and I know exactly why it’s in there. For the past year I’ve had multiple scripts that I’ve talked to many studios about, and some have showed real interest…one of the biggest notes I’ve always gotten back is that if you included some sort of social commentary, or something that was in the news today, something that people are talking about a lot, that might make your script easier to sell.”

Forget about quality. The message is SJW posturing is mandatory if a creative is to get any major opportunities. Parroting the progressive line guarantees favorable reviews and support from fellow travelling film wonks. however there are signs the apparatchik monopoly may be slipping.

The non-stop ideological haranguing really soured me on film. For years I hardly ever went to a theater to see a new release, waiting for dvds or streaming. Now something is changing. In 2019 I actually went to the movies three times, which I probably haven’t done in at least a decade. I saw, and enjoyed, Midsommar, Joker, and The Lighthouse. These smaller releases, lumped into the niche genres of horror and super hero movies, show a pattern of defiance against the stifling status quo. I see how they indicate an evolving direction for the zeitgeist which is not following the political/media combine plan.

Once the spirit of an age turns against the powers that be, nothing can save their prestige and power. It’s only a question of how damaging their downfall will be.

So what was in these movies that made them different? Note: there will be some spoilers in the discussion below.

Stop, Children, What’s That Sound: Midsommar 

 

Midsommar was the most flawed.  I attended this one based on the director Ari Aster’s powerful first film, Hereditary. Midsommar couldn’t match the infernally machined plot of Hereditary, or actress Toni Collette’s fiery performance as a grieving artist and mother. Midsommar had the conventional horror trope of college student types lined up to be massacred, but in an unexpected setting: under the bright sunshine, in flower strewn fields. The villains are equally sunny collectivists, smiling as they dispense hallucinogens, torture and death. Midsommar worked best in evoking an uncanny atmosphere and showing off trippy visuals. Still, the movie exposes the nasty murderous pagan impulses underpinning Green New Deal style objectives. The fanatics seem so well-intentioned, right up to point when they commit acts of cruelty and slaughter; not the typical Hollywood attitude towards back-to-the-land commune dwellers.

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The Success of Joker is No Laughing Matter 

I dropped out of the seemingly endless and increasingly monotonous super hero movie grind ages ago.  Joker was different. It intrigued me with its gritty but luminous trailers. Joaquin Phoenix has turned in many intense performances before. But what got me to buy a ticket was the cancel culture frenzy which took aim at this movie.

A lot of hysterical commentary got vented about how sinister right wing incel violence was bound to erupt due to this movie about a downtrodden clown gone wrong. Well, the projections about bloodshed were baseless, but the SJWs were right to recognize the threat the movie posed to their dogmas.

Set in the 1980s, the film repeats beats from Martin Scorsese’s dystopian 1970s films. ‘ While contemporary critics are desperate to tie the Joker’s decline and fall as a symptom of Orange Man Bad’s America, a different comparison is more apt. Joker gives a depiction of Gotham as a typical Democrat run urban shithole, and the suffering of those trapped in the blue state model. The out of control crime, filth, decay, and discord is happening today in cities from San Francisco to New York, from Los Angles to Chicago. All these blighted places have been under corrupt progressive dominance for decades.

Joker skewers media malfeasance as well, another sore spot for the activists. They hated this movie, but their efforts at fear-mongering and boycotting failed. Joker is going to make a billion dollars. It’s the top grossing R rated movie ever.

In the case of Joker,  massive audiences ignored demands to obey the latest politically correct diktats. A gap exists between the cultural commissars and the people, and that gap is growing. It helped that the movie made corrosion look colorful through comely cinematography. There were enough hints of the Batman mythos to provide fan service. Phoenix delivers an engrossing take on gross humanity, a delusional villain who still elicits some compassion as he dances down as an engine of destruction.

But the strongest film I watched this year was The Lighthouse. It’s also the film that most effectively demonstrates an aspect of the new spirit which is stirring-which is actually very old spirit indeed.

The Lighthouse

Man vs. Nature, Man vs. Man, Man vs. Himself

On the surface, the story is about two men either going mad or being bewitched, fueled by isolation and drink. It works on that primary level very well, but there’s more to it. The Lighthouse is influenced by Western cultural information that has long been ignored or attacked by what are supposed to be our cultural institutions. This creepy little period piece draws power by partaking in the rich traditional stories society used to treasure. It echoes the great works of religion, mythology, and literature which formed the West, and informed the generations who built up an amazing civilization.

This isn’t an academic exercise, where you play spot the references to prove how clever you are. This is visceral, a gut level reverberation; archetypal frenzy channeled. The same spirit which drove the geniuses of the past is effectively evoked in The Lighthouse, telling its own unique variation on timeless themes.

Once the hinted heritages on display would have been kind of shared language, common knowledge for all. That has been stifled by our governing class, on purpose.

I was thrilled to see and hear moments that recalled classical myths, the Old Testament, Coleridge, Melville, and Shakespeare. There’s some David Mamet, Samuel Beckett, and H.P. Lovecraft in there too. Imagery took form like the artistry of Winslow Homer, Andrew Wyeth, and William Blake.

A viewer doesn’t need to recognize the ghosts of the canon crowding into the frames to be enthralled by the film. It stands on its own merits. It’s a visionary, tense work. But seeing those salutes to the accomplishments and knowledge of our forefathers adds potent nuance.

The movie also handles the past as its own distinct character. It doesn’t feel like today’s sensibilities just dressed up in costumes, which is the typical default Hollywood shtick. Another era seems present in every detail.

The Postmodern philosophy has been used as a bulldozer against our culture. The agenda has been for a great leveling to take place, to knock over the soaring achievements of Western civilization. Our elites are grinding our legacy into rubble under the treads of their reckless pursuit for power. But a new philosophy has emerged, to counter the planned destruction. Like always, this new direction first appeared in the arts.

In 2000, Billy Childish and Charles Thomson, two British artists, wrote a statement years ahead of its time. The Remodernism Manifesto delivered a compelling alternative to the lies and presumptions of the Postmodern contemporary arts-and by extension, the practices of the whole rotten establishment. They were the first ones I saw who declared what could come after the fall of the corrupt Postmodern ethos; a self-determining Remodern era, where the great advances of the past can be built upon, instead of trashed.

These founding artists inspired creatives around the world. They created an open source art movement for the 21st century. As I state in my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization: 

 

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.

What you have in the arts, ultimately you will have everywhere. The arts show us how to be. When Andrew Breitbart stated “Politics is downstream from culture,” he was reiterating what mystic artist William Blake knew: “Empire follows art and not vice versa…”

This model is upheld by the changes I’ve seen unfolding over the 20 years since Childish and Thomson wrote down their ideas about art. They called for a DIY, spiritually driven revolt against the status quo in the incompetent and arrogant well-connected art world. Extrapolate that, and the message is clear.

Our betters, are not. Our servants aren’t serving. They have squandered their credibility, and have no authority. It’s time for the rest of us to outgrow the limitations the elites try to force upon us. That message isn’t just about art anymore.

Postmodernism is a form of dysfunctional global tyranny that must be opposed. The Remodern hunger for renewal is driving the populist insurgencies remaking the world.

I also see some of the same stubborn insistence on expressing a unique voice in these three 2019 movies. If the covert independence these films represent continue make it through the establishment filters, I’ll be going to the movies a lot more.

The Lighthouse: Yo Ho Ho 

 

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

PAINTINGS: In the Night

Richard Bledsoe “In the Night” acrylic on canvas 20″ x 24″ 

 

From the Remodern America Manifesto:

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.

 

-Excerpt from

Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization

by Richard Bledsoe.

 

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

 

“Bill Wants To Be The Bad Boy:” A Me-Too’d Art “Maven” and the Postmodern Abuse of Art

Circling The Drain:

Taking Advantage of the Decline of Artistic Expectations 

They say the way you do something is the way you do everything.

Here in Phoenix, Arizona, an all too familiar drama is playing out. An affluent influencer has been accused of sexual aggression towards multiple women. The details offered are lurid, and awful.

No charges have been filed. There is no proof I am aware of, beyond mostly anonymous statements given to journalists. In this country, we are all innocent until proven guilty. This must be a very difficult time for everyone involved. Pray for all of them.

Unlike Joe Biden, I was not there 3,000 years ago, when Isildur took the ring and the strength of men failed. But I was there in 2002, when landscape architect Bill Tonneson took the title of artist, and the integrity of the art world failed. I met Bill Tonneson at one of his first exhibits, at the old Paper Heart Gallery.

It was a poor showing. Mostly patterns of found objects mounted on wall hung canvases. But it turns out, these examples of bland decor were the opening moves of a grand strategy.

Back then, Tonneson had decided he would make himself the world’s third most famous artist in one year. In a Phoenix New Times interview at the time with art critic Robrt Pela, Tonneson explained his gambit. The article is full of telling quotes:

A year ago, architect Bill Tonnesen launched a career in modern art. His 12-month goal: to create 100 significant pieces, and to land a one-man show in a notable gallery. He chronicled his experience in the self-published Tonnesen: 12 Months to Fame and Fortune in the Art World. The book pictures many of his mixed-media assemblages (a frame filled with teacups, another jammed with hundreds of Bic pens) and is full of revelations (“As I surveyed the art world, there seemed to be a lot of paintings. Crazy abstract stuff that looked relatively easy to do.”)…

NT: There’s that old line that you always hear about modern art: “Hey, my kid could do that!” Your career as an artist strikes me as a big riff on that whole notion.

Tonnesen: That’s a subject I love to talk about: understanding art. The notion that one painting deserves a more important place in the history of art. It’s very convenient for uninformed people to think that their opinion is the equal of someone like [deceased MOMA curator] Robert Storr’s. What makes contemporary art so unique that suddenly everybody is an expert? Why can some idiot walk in off the street and think his opinion about a painting has any value?…

NT: …You actually made an A-list of artists in your book. What is that based on?

Tonnesen: Primarily on auction results.

NT: So for you, it’s all about the money artists make, and not what their work is expressing or how it moves you.

Tonnesen: Well, money is a measure of collectibility. So are references in textbooks, a presence in museums, and mentions in publications like Art News, which essentially make the art world. But the common currency is money. It’s the most concise way of determining an artist’s popularity.

NT: That’s a pretty arrogant position to take, to create a list that values artists based on how much money they make.

Tonnesen: The list is the least controversial aspect of what I’ve done. Essentially, it’s unchallenged, partly because if you survey the horizon of thousands upon thousands of artists, people like Jasper Johns and Gerhardt Richter are the ones who rise up, and it’s relatively . . . I can’t think of the word.

NTYou seem torn between saying that the art world is full of shit and wanting to be part of it.

Tonnesen: My goal is to point out that the art industry is a market, like any other. I am a libertarian, laissez faire capitalist. I believe in markets. What I’m interested in doing is studying how the art market works and competing there, but not at a regional level. I have worked now for one year in this regional environment, and now I’m ready to compete on a larger stage…

The interview concludes with this nugget of Tonneson analysis: “I don’t think people really have much insight into what is art and what is not art.”

Bill Tonneson has been relying that disconnect ever since.

In the interview above Tonneson expresses the perspective of a Postmodern partisan. The attitudes are all there: the relativisim. The appeals to authority. The derision towards the little people who dare to have their own opinions. The lust for money, fame and power. Tonneson states the values of the establishment art industry, which are of course the values of the establishment in general. Our elites are corrupt Postmodernists to the core.

His take-over-the-art-world book is still available (Amazon Best Sellers Rank: #9,664,166 in Books). Needless to say, that initial scheme failed. But the marketing blitz made Tonneson a player in the lively Phoenix arts scene.

British artist Charles Thomson, co-founder of the Remodern art movement, has attributed the crisis of relevance in the contemporary arts to “…a Postmodern ethos that puts celebrity, cynicism and commerce above any spiritual or deeper human values.”I would add a fourth C to that list: controversy. Since 2002, Tonneson has worked those unappealing angles to keep himself as an artistic presence.

Like in 2012, when he plunked this beauty down in front of his house, so the nearby pre-school and church could take a gander at it:

 

“Arizona Man Feuds with Neighbors Over Statue of Obese Naked Woman,” reported the New York Daily News.

“I love it,” Tonnesen said. “I’m crazy about it.”…he wishes his neighbors could see it as a work of art, and not just a nude woman. His neighbors aren’t alone — Torrenson said his wife doesn’t like the statue’s placement and made him cover with a sheet.

“Until I can work something out with my wife, we’re going to leave it covered,” he told KNXV.

That poor long suffering lady. I read a later article which said Tonneson had added a bikini made out of money to the piece, but I couldn’t find an image of it.

He was at it again in Tucson in 2013: “Artist Hopes Nude Statues Cause a Bit of Outrage:

Tonnesen has created a pair of statues — torsos of nude women jutting out of a tower of truck tires — that sit in front of an apartment building at 2230 E. Fort Lowell Road.

In Phoenix, Tonnesen is a bit of a bad boy. Some of his large-scale pieces, often in prominent spots at apartment buildings, are in-your-face nudes. One, an obese nude woman sitting on a wall, faces a church. Another nude — it looks to be of the same large model — holding a urinal at her crotch (presumably an homage to Duchamp) is on display at the front of an apartment building not far from the Phoenix Art Museum. Protests to the works were loud.

Tonnesen, who solicits publicity, loves the controversy his art creates…Tonnesen calls the works, molded from a live model and made primarily of plaster and epoxy with a steel frame, “Domestic Totems.”

Two female torsos sit on top of 11 gleaming black tires, raising the works up to about 16 feet, nearly reaching the top of the second story of the two-story building.

The torsos are white. Each has large, exposed breasts.

The figures are draped with a shawl and have headpieces made of pots, pans, dishes and other accouterments of domesticity. One has an electric hand beater as a necklace, a mop covering her eyes as though they are long bangs, a baby sitting on top of the headpiece, and a mouselike figurine on top of that. The woman’s mouth is opened in a sort of shocked “O.”

…“My grandson doesn’t like them; he thinks they’re nasty,” says Marybeth Davis, who lives there with him. She, on the other hand, has no problem with the bare breasts. It’s the works themselves that bother her.

“I don’t call them art,” she says. “I call them gaudy.”

Tonneson’s controversies aren’t limited to art. Even before the recent allegations, in his landscape architecture business there have been some very vocal dissatisfied customers, and neighbors. His plans for a Phoenix Holocaust Memorial spiraled out of control (Illusions of Grandeur, New Times March 2005).  The project was not completed. And then there was the time he convinced the former mayor of Tempe to convert a local landmark into a Bill Tonneson theme park. (Bill Tonnesen, Contentious Tempe Developer, Aims for Immortality, New Times November 2012)The city council didn’t go along with that one.
Quotes from the linked articles paint an evocative picture:
On renovations:

…At first, the pair enjoyed getting to know the charismatic designer and his workers. They even bought a few pieces of his artwork, including one with orderly rows of coffee cups featured in Tonnesen. He assured them it would only grow in value as his art career took off.

But the piece hasn’t aged well; one of the coffee cups has fallen off its backing, and in its place, Dacquisto has stuck a movie stub from Kill Bill Vol. 1. Like the artwork, his relationship with Tonnesen also deteriorated precipitously, after the project dragged on for nearly a year…Worst of all, when the partners went to talk to a lawyer, the lawyer gave them a piece of information that caught them totally off guard: Tonnesen Inc. didn’t have a license to do electrical work, which it had done. Or a mechanical license. Or a plumbing license. Or a residential contractor’s license. Tonnesen never should have been allowed to redo their kitchen in the first place, their lawyer explained….

The Holocaust Memorial:

Tonnesen claims, repeatedly, that Phoenix’s memorial will be the only one in the world to show six million objects. It’s a contentious claim: After all, schoolchildren in rural Tennessee recently collected more than six million paper clips to display in an old German cattle car. It was an improvised effort, without a master plan or a visionary architect, but the exhibit now draws thousands of kids from all over the Southeast….

But that doesn’t count, Tonnesen says, not under his criteria. Sitting in a big pile, the paper clips aren’t visually distinct.

Similarly, he doesn’t count the New England Holocaust Memorial in Boston, which shows six million numbers etched on six glass towers. “That’s different,” he says.

He can’t seem to acknowledge that any previous effort has hit the nail on the head. This, after all, is a guy who dismisses the Vietnam Veterans Memorial: “Beautiful idea, but immaturely executed.”

There goes the neighborhood, and the Tempe Flour Mill:

…And always, Tonnesen’s sculptures — many of them life-size statues of Tonnesen himself, in various guises: holding an umbrella, pointing at a giant thermometer, perched atop an air-conditioning unit. But his accolades…often are drowned out by the moaning of people who’ve had dealings with Tonnesen.

Like the employees worried that he talks too much about working without proper permitting. And the city officials who felt he was forcing his public art onto the Tempe Flour Mill site, after he sneaked two of his sculptures onto the site on the evening of its grand opening…

“The problem with Bill isn’t a lack of talent,” says a colleague of Tonnesen’s who refused to be named because, he says, any public commentary on Tonnesen leads to days and days of e-mails and phone calls and recriminations.

“It’s that he doesn’t listen, and he wants everything his way. So you ask him for a glass of water, and he brings you a swimming pool. And you say, ‘Put the swimming pool in my backyard, then,’ and he mounts it on your roof and plants 70 trees around it and then encases it in a big metal box made out of recycled refrigerator shelving, because it’s what he wants.”

…”His houses are ridiculous, and they don’t fit in on our street,” says one of Tonnesen’s Tempe neighbors, who won’t go on-record because she’s heard other neighbors complaining about Tonnesen screaming at them. “I got yelled at by people on the block, because I had seven wind chimes on my front porch. But this guy can have a giant metal box and a hundred trees in the front yard, and everyone’s thrilled!”

****

“I’m hard to work with,” Tonnesen admits. “When I hire someone, the chances of it working out are tiny. I only care about two people’s opinions — my wife’s and my assistant’s. Everyone else is just workers, and I’m hoping they won’t screw everything up.”

“Bill does things first and asks permission later,” that ever-vigilant assistant, Samantha Staiger, says. “That bothers people.”

“You gotta make your own opportunity!” Tonnesen yells excitedly. He’s an imposing presence: 6 1/2 feet tall, wearing his signature uniform of pressed blue jeans and a white Oxford shirt with his last name stitched above the pocket. His smooth hairstyle recalls the blunt bob worn by Gloria Vanderbilt in the ’60s and ’70s. “I’m not sitting around waiting for permission. I try to be proactive and to make things happen…”

***

“I had some grandiose ideas,” Tonnesen admits of his Flour Mill plans. “I want to do the unexpected. I want people to be curious and confused by the art things we put in. So I drew up an elevated walkway with a hole in it, and we would have someone sitting by the hole, and maybe spraying water on people or videotaping them as they walked by.”…the Tempe City Council wouldn’t go for a walkway with a built-in hooligan, so Tonnesen came up with a second plan: a giant Advent calendar-like cabinet filled with his own custom statuary.

“I had it dripping with my sculptures!” he bellows gleefully. “And of course no one had any money to do this. I would have done it for free! When it’s an iconic structure in my own town, I’m on board!”

To rehabilitate his reputation, Tonneson worked with Alison King, a web designer and co-founder of Modern Phoenix.

Shining up Tonnesen’s public image was no easy task, King admits. “It was among the hardest jobs I’ve taken on,” she says. “Bill wants to be a bad boy. He can’t help it. It’s who he is. He would rather ask for forgiveness later than ask permission first.”

But then, in his most ambitious art move yet, Tonneson got his theme park. Thwarted by short sighted city bureaucrats, he installed his monument to himself, himself. Bill Tonneson went to the Lavatory.

The Lavatory is the name of Tonneson’s solo act art museum. Seriously, what is it with these elitists and their juvenile caca fixations? 

“Big Fun Art’ Spreads to Phoenix” City Lab December 2018

Illuminated by floor-recessed lighting, the bottom half of a 1,500 square-foot subterranean room is suffused in pink, slow-curling fog. By one wall is a life-sized plaster-cast statue of a bare-chested woman, head concealed in cloth, holding a naked infant upside-down. A gaunt female model with an alabaster face saunters languidly through the space, like a mute witness to some macabre ritual. The 50 or so patrons, who each paid a $30 entrance fee, tentatively explore the room’s perimeter, wading through the puffy fuchsia tide, when a baritone voice registers through speakers:
“Ladies and gentlemen, you are about to be buried alive.”
Following a New Year’s Eve-style countdown, a huge net tethered to the ceiling releases 120,000 three-inch plastic iridescent balls, eliciting instantaneous glee from the crowd. They now occupy the largest, most bizarre, adult ball pit playpen in the world.The “wizard” behind the curtain is 63 year-old Bill Tonnesen, who serves as MC at the Lavatory, a risqué, if not outright scatological, art exhibition housed in a 16,000 square-foot, two-story commercial building just north of downtown Phoenix…in addition to the “pit,” [it} includes other themed rooms (one requires a non-disclosure agreement to enter). Also featured are two claymation cyclorama booths with professional portrait quality lighting conditions; a claustrophobic ten-by-eight foot room filled floor-to-ceiling with 18 functioning toilets; and many, many pieces of artwork by Tonnesen himself.

“A traditional experience at a gallery or museum is to look at a painting on a wall,” the artist told CityLab. “We’re working on a mechanism to make that painting fall if you get too close. My goal is to confuse.”

There is some confusion going on here all right. Clarity can be reached by looking at the broader, top down goals being inflicted on our culture.

The Postmodern establishment is trying to exterminate the experience of art. As I state in my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization: 

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.

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.

There’s more than one way the elites have attacked art. The really prevalent one right now is to turn art into just another form of leftist activism. 

But the more insidious one is to replace art with the fleeting, tacky thrills and tawdry spectacles of a carnival midway and sideshow.  This is why you now get things like giant slides in art museums.

The Tate Museum’s Downward Slide 

Sure, that looks like fun, but is it art? No, it is not.

Depsite Postmodernism’s efforts to redefine words to suit the vast agendas of control, real art is the very opposite of the whirl and swirl of the county fair. Real art freezes a particular moment and makes it reverberate with timelessness and deep meaning. It doesn’t immerse us in sensations which drive us to distraction. Real art moves slowly in us, but with massive force. It is an enduring and abiding experience. Real art inspires  awe regarding human potentials, and takes us out of ourselves.

The elites don’t want us to have those profound moments. Too much risk of uplifting, transformative wisdom occurring. The ideologically driven artifice they favor can’t provide the moving qualities actual art delivers. So, using their hold over our cultural institutions, they are doing a massive bait and switch. Call something art, but then deliver cheap, lewd variations of Chuck E. Cheese attractions. They substitute the intensity of traditional art with an empty buzz of quick hit one-liners.  That will keep the ignorant proles in their place!

The Future of Art? 

The Lavatory fails the achieve art. It might pass as a fun house, but it doesn’t really look like much fun. It’s over burdened, trying to prove its art cred by dragging in stale Duchamp references. The images from it suggest a sinister, sleazy vibe, which recent reports only amplify.

Scenes From the Lavatory. Ick.

After the Me-Too style allegations surfaced, the Lavatory has gone dark. Tonneson shut down his Instagram account, and from the vicious commentary left showing on his Facebook page, it seems to be untended as well. Venues have started removing his works from display.

Tonneson’s come back before from scandal. He may be back again. If so, we can hope he will be able to deliver an authentic artistic experience, rather than just another tacky destination for selfies.

Bill Tonneson: Say Cheesecake 

 

 

Update: Welcome Instapundit readers! Please visit other articles for more commentary on the State of the Arts from a Remodern perspective. 

8 Times Trashy Postmodern Art Got Thrown into the Garbage

 

Literally Litter:

The Postmodern Party is Over 

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Here’s a simple proposition: real art and rubbish are mutually exclusive.

Postmodern artists don’t understand this.

Lots of people call the bizarre and off-putting art displayed in contemporary galleries and museums “Modern Art.” However, we’ve left the ideas that drove the Modern age behind us. We are living through the death throes of  the Postmodern era, a much more troubling time.

Postmodernism is the camouflage outfit for Cultural Marxism, a 100 year project to destroy Western Civilization. The New Aristocracy of the Well Connected intended to launch a new Dark Age, where elitists wielded unaccountable power over a vast dispirited serfdom. They use mass media psychological manipulation to undermine us all. Their strategy was to manipulate language, and corrupt our institutions, in order to make us all submit.

This top-down project has finally started meeting serious resistance; their kingdom of sophistry and social pressures is crumbling. Postmodernism has failed, but the routing of the enemies within, and the massive work of reconstruction, will be a long and challenging process.

Perhaps no field displays Postmodern excesses and absurdity more that the arts. Modern art had already introduced alienation and fragmentation into the artistic experience. Art, the communal expression of beauty and order, had been undermined by reckless ideologues. They valued experimentation as an end in itself, and lost sight of being able to produce meaningful results. Above all else, art is a form of communication. Modernist partisans, fixated on art’s technical properties, often ended up irrelevant and incoherent.

When Postmodernism began to rise in the 1960s, it shifted artistic emphasis towards relativism, political proselytizing, and nihilism. Postmodernism is a clumsy power grab. It works on the doubtful premise “whatever the art scene asserts is art, is art.” We are all expected to bow before their insider status and so-called expertise.

So what do Postmodern scenesters advance as art? They thrive on “appropriation.” This means artists don’t actually make what they claim is their artwork; it’s made by hired skilled craftsmen, or already existing objects are merely collected and displayed. Often, these found objects are literally trash.

Here are eight times when cleaning crews showed more wisdom than the arts establishment, and put Postmodern garbage exactly where it belonged.

 

1. Damien Hirst “Painting by Numbers” (2001)

.One of the kingpins of Postmodern non-art is the no-longer-so-young Young British Artist Damien Hirst. Before he was involved in a price manipulation scandal where he bought his own art to jack up the reported sales price, in 2001 Hirst tried to pass off some other trash as his own artistic production.

.Instead of cleaning up after the Eyestorm Gallery’s opening party for his installation “Painting By Numbers,” he proclaimed the remaining debris was now part of the show. However, the janitors didn’t see “the piles of full ashtrays, half-filled coffee cups, empty beer bottles and newspapers strewn across the gallery” as  adding anything to the ambiance. They chucked it all, although we are assured it was”…an impromptu installation, which increased its value by thousands.”

Fortunately, a counterpoint of common sense was articulated by artist Charles Thomson:

Charles Thomson, co-founder of the Stuckist art movement, which favours the traditional skills of drawing and painting, praised Mr Asare’s action.

“The cleaner obviously ought to be promoted to an art critic of a national newspaper. He clearly has a fine critical eye and can spot rubbish, just as the child could see that the emperor wasn’t wearing any new clothes,” he said.

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2. Gustav Metzger “Recreation of First Public Demonstration of Auto-Destructive Art” (2004)

The Tate Britain was not ashamed to show garbage as art, but they were embarrassed when it got thrown into the crusher.  They described it as “an artwork by Gustav Metzgerin…made up of several elements, one of which is a rubbish bag included by the artist as an integral part of the installation.”

Even though the bag was retrieved, the artist declared the trash was now ruined and could not be used. Thanks goodness he came up with some additional waste to take its place.

The museum spokesperson  declared “The new rubbish bag is now put in a box overnight for safe keeping,” without a whiff of irony.

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3. Leslie Rech “Anna Dropped Her Basket” (2004)

This poor artist was only trying to bring some culture to the mean streets of Columbia, South Carolina. Instead, she found out just how mean those streets could be.

A sanitation worker disposed of her offering for an installation art show, which “consisted of about 300 eggshells and a handmade dress,” in an alleyway.

Matt Kennell, executive director of the organization which hosted the event, acknowledged the misunderstanding involved. “What he saw was a dress on top of eggshells, so he cleaned it up,” Kennell said. “That’s his job, to clean stuff out of alleys.”

Apparently, Kennell’s job is to facilitate placing stuff into alleys, instead of taking it out.

 

4. Paul Branca “Mediating Landscape” (2014)

This Italian installation at Sala Murat featured newspapers, cardboard and cookie crumbs scattered across the floor. After the cleaning lady swept up, the damage to the artwork was estimated  to be 10,000 euros (over $15,000 in American dollars at the time).

They must have been some very expensive cookies indeed.

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5. Sara Goldschmied and Eleonora Chiari “Where Shall We Go Dancing Tonight?” (2015)

2015

Italy again. It took two Postmodern artistes to think this one up.

Described as an art installation of “empty champagne bottles and spent party poppers,’ this masterpiece was successfully retrieved from the dumpster by the cleaners who threw it out., and reinstalled. Letizia Ragaglia, director of the Museion Bozen-Bolzano, stated “It all goes to show how contemporary art is capable of arousing great interest, or even annoying people.” Mostly the latter.

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6. Pepa Chan “Resurfacing” (2015)

In the city of St John’s, Newfoundland, Canada, a local artist had her outdoor installation hauled away.  Pepe Chan had created what looks like some kind of creepy attempt to lure kids into a homeless encampment. Of course, it was meant to “invoke the forgotten identities and traumas of aboriginal children using found toys and aboriginal poetry.”

What Chan didn’t invoke was the needed permission to actually use city property as her display space.  She didn’t pursue getting a permit “because of the large amount of work and red tape that goes into doing so.”

She grimly noted, “It’s like what I was trying to explore with my work, their answer to it was so violent.”

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7. Will Kurtz “Keep America Great Again” 2016

No collection of contemporary art would complete without some OrangeManBad in it. Will Kurtz made this contribution. It’s a play on a certain campaign slogan, and it’s an overflowing garbage can! Get it?

The janitors didn’t get it. They emptied the trash can. The raccoon was spared.

In a strange twist of fate, curator Brooke Shields went dumpster diving to find the missing waste.

Hopefully that saved Art Southampton gallery from having to cough up the $8,000.00 price tag for the loss.

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8. Carol May “Unhappy Meal” (2018)

 

Hong Kong has its troubles today, but they are nothing compared to what this poor artist experienced in 2018. Her art, a negative knockoff of an emblematic fast food design, got tossed from the Harbour Art Fair.

Even though the piece was later found, “…it was battered beyond repair.”

“Initially I didn’t find it funny at all,” May said. “But later I realized it meant my imitation had been a success.”

This is some definition of success I am not familiar with.

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Why is there this persistent effort to rename garbage as art? In many ways, these misleading misnomers reflect the core values of the collapsing Postmodern project; the abuse of authority. Word games and rationalizations. Efforts to divide, and confuse, and suppress. It’s the Postmodern mindset itself which is rubbish.

But something is rising to take the place of this outmoded, half baked totalitarianism. Art is actually a great weakness for the elites, because they have so obviously trashed it. As I write in my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, the tide is turning:

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. Please send any inquiries to info@remodernamerica.com. 

 

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