DAILY ART FIX: FAVORITE PAINTINGS OF ART CRITIC JERRY SALTZ

Art world links which caught my eye…

These days, there are few professionals who matter less than art critics. Jerry Saltz has made a career of it at least, and dispenses opinions on art that range from the insightful to the inane. Saltz’s writings come across like he’s his own biggest fan, but we all have moments of that. In this article, Saltz discusses some of his favorite paintings to look at in New York.  

Florine Stettheimer “The Cathedrals of Fifth Avenue” (1931) Metropolitan Museum of Art

Paint as cake frosting; color as shimmering cellophane. This hallucination of a wedding procession on a red carpet spilling out of a department store raises shopping to a batty rite of passage.

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Fresco wall painting in a cubiculum (bedroom) from the Villa of P. Fannius Synistor at Boscoreale
ca. 40–30 b.c.; Late Republica, Roman. Metropolitan Museum of Art

Looking at the impeccably proportioned frescos adorning this Pompeian bed chamber puts the lie to the fallacy that perspective was invented in Florence in around 1414. Terraced buildings and intricate courtyards rendered in near perfect perspective produce full-on spatial illusions. The Romans had perspective; they just weren’t that into it.

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Jasper Johns “Flag” (1954-55) Museum of Modern Art

In 1954 the 26-year old Jasper Johns said, “I dreamed I painted the American Flag.” Then he did! The psychic content of this uncanny, sensuous, cerebral work is the simultaneous inclusiveness. . .  of America but also the ways Johns was an outsider to this openness. The painting, made with encaustic (a medium used by the ancient Egyptians to embalm their dead), is a Betsy Ross moment of modern art; something generations have pledged artistic allegiance to.

See the full list here: ARTNET – A GRAND TOUR by Jerry Saltz

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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!

DAILY ART FIX: The Art of Memes 3

Art world links which caught my eye…

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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!

DAILY ART FIX: My Encounter with Gwar, the Artist Collective That Brings Heavy Metal Fever Dreams to Life

A true story…

VIDEO: Trailer for GWAR Documentary Let There Be GWAR - Vannen, Inc.

Gwar: The Boys in the Band

In the 1990s, after I graduated from Virginia Commonwealth University, I stayed on in Richmond, Virginia. One of the city’s claims to fame at the time was Gwar-a metal band that mixed muppets, gore, and slapstick into a fake-blood soaked spectacle. I remember one show of theirs I attended where they must have put too much color into the various fluids they sprayed into the audience; even the hairs on my arm were dyed pink for days afterwards.

Gwar in Action

There came a point where Gwar was banned from performing in costume in their own hometown, due to the over-the-top grossness and silly obscenity of it all. They used to do local shows as Rawg, where they would perform the music without the theatrics.

At the time I was the chairman of the exhibition committee of Artspace, an artist-run cooperative gallery. I had a great idea: if Gwar can’t use their props and costumes in Richmond, what not put on an art show with them? I imagined national press attention, MTV coverage, and a spirited debate about free expression.

The Gwar guys didn’t act like rock stars. They were always just hanging around the local scene like anyone else. I was able to get an introduction pretty quickly. One afternoon I met up with singer Dave “Oderus Urungus” Brockie for a tour of Slave Pit Incorporated, the facility where they manufactured their elaborate outfits and gear. There were rubber body parts everywhere; I remember there was a big latex O J Simpson, who was very topical at the time. Brockie was gracious and supportive of the idea of an art show. It all would have made for a great exhibit.

Long story short, Artspace decided they couldn’t get insurance for an event like this. I think many of the gallery members were too intimated by the crassness as well. The idea was dropped, and Gwar continued to grow their international cult following.

Here is a relic of those times: a little rubber souvenir I found one day on the cobblestones of a Richmond alleyway:

Dave Brockie sadly passed away in 2014. However, the band continues to this day, as recently covered in Atlas Obscura:

The studio, as it looked on an average day in 2017.

Slave Pit Incorporated in 2017

This is the studio that creates custom costumes, sets, and stage props for two-time Grammy-nominated thrash metal band GWAR. The group’s costume- and FX-fueled live comedy-horror operas won international attention in the early 1990s and continue to disgust and delight audiences today. Concertgoers can expect things like huge, grotesque monsters raging amid fiery explosions, as band members dressed like satanic space-ogres shred on guitars with headstocks that spew fake blood.

The artists working here are responsible for bringing the show to life. They’re considered band members and work on everything from storylining albums and scripting stage productions to filming music videos and writing branded graphic novels. And sometimes they play monsters onstage. The team consists of two full-time artistic directors and a few dozen contract contributors. Most attended art school at nearby Virginia Commonwealth University (VCU).

Read the full article here: ATLAS OBSCURA – The Artist Collective That Brings Heavy Metal Fever Dreams to Life

Gwar - Wikipedia

Dave Brockie: RIP

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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 ART OF DEATH VERSUS THE DEATH OF ART

Damien Hirst Humped The Shark:

The Physical Impossibility of Death in the Mind of Someone Living” (1991)

The arts are undergoing a crisis of relevance. People have been so alienated by the weird dysfunctions of the establishment art world for so long, there is little awareness of what is being advanced as the visual representations of our culture.

This stuff matters more than people know. Art shows us who we are, and it shows us how to be. Right now the arts are dominated by destructive nihilists. Look at what they do, to understand what the elites are trying to program as our way to live.

There is a longstanding artistic tradition of the momento mori: “remember you must die.”

The reality of our own mortality, and coming to terms with it, is a vital function of traditional art. Making something exquisite out of the way of all flesh is a transcendental act. It has been expressed in many ways. Throughout art history, skulls make appearances in paintings, on jewelry, on clocks and watches. Dutch masters painted beautifully naturalistic oil still lifes referred to as vanitas, which included images of bones, snuffed lamps, and hourglasses. They not only celebrated the refined talents of the painters, they implied pending decay.

Pieter Claesz “Vanitas Still Life” (1630) 

The tradition continued over the centuries. In a more recent example, Modernist American painter Georgia O’Keeffe utilized animal skulls and flowers to similar effect. It’s the kind of universal communication that makes art so powerful.

Georgia O’Keeffe “Summer Days” (1936) 

As Christians, we understand our true life is not limited to this earth, but is life eternal granted by the grace of the Son of God. Still, awareness of the briefness of our time here on earth is a powerful motivator. “I am writing this book because we’re all going to die,” mused Beat author Jack Kerouac. He was determined to deliver his story as a supplication to the Lord. Kerouac wanted to make something holy out of all his striving, opening himself to God before the darkness came.

Contemporary art has a different message for us: death as something awkward, gross, and shameful. This is typified by the richest living artist in the world: Damien Hirst.

Choke Artist: Damian Hirst

Hirst has been well rewarded for making death seem supreme. It’s said this hack is worth $1 billion. What put British artist Hirst on the fast track in the first place could be seen as a momento mori of a kind, but with some important caveats.

Hirst was trying to make that connection in his title. Called The Physical Impossibility of Death in the Mind of Someone Living, the 1991 piece was a fourteen foot long taxidermied tiger shark suspended in a tank of formaldehyde. Since its creation it has changed hands several times, for a price suggested to be as high as $12 million.

Now, Hirst did not catch the shark. He did not stuff the shark. He did not build the tank, or suspend the beast in it. He is a “Conceptual artist.” The idea of Conceptual art is all the artist needs is to have the idea. Others execute it, often by just putting some already existing item like a shark into a new context of a gallery or museum. The artist then acts as a well-networked and “controversial” spokesmodel for their commercialized brand. This business model was most visibly pioneered by Pop artist Andy Warhol, who made some vanitas himself.

Andy Warhol “Skull” (1976)

While Warhol usually sold product placements and celebrity portraits, HIrst’s brand is carcasses. It’s claimed nearly 1 million animals have been processed through his industrial scale artistic abattoir, ranging from butterflies to zebras. He’s advanced from having them merely displayed; they are sliced, diced, contorted and flayed, as per his “vision.” As Hirst has callously stated, he wants to “kill things in order to look at them,” and “Cut us in half, we’re all the fucking same.”

Damien Hirst “Piggy” 

I don’t claim any special virtue for myself. I’m a happy meat eater, and I understand what that means. But what Hirst promotes is far from the traditional momento mori of art. There’s no acknowledgement of the urgency of human experience, the profound significance of life in the face of its certain end. The hands off approach from its originator removes the spiritual resonance of creation in spite of destruction. Hirst implies we are just meat to be manipulated and exploited. It’s an ugly and empty message.

Hirst doesn’t even provide quality in the work he has done in his name. Despite the hype, I’ve seen descriptions of encounters with the shark which say what was once was a magnificent animal looks about as impactful as an overstuffed sofa, lost in the white void of the museum. The original shark rotted away in its tank, and had to be replaced. The contemporary art market is place of such cognitive dissonance there is a hearty debate on whether swapping the shark out meant the artwork was now worthless.

My take? It was worthless in the first place.

Hirst seems to have gotten into the carrion business because he lacks real artistic talent or discernment. After Hirst became a brand name, when he wanted to come up with a mass production way to cash in, he produced the inane spot paintings. I can’t picture a bigger failure in imagination or interest than these generic Twister rip offs. Still, thousands of these have been cranked out by hired help, selling for tens of thousands of dollars each. It’s a way for tasteless but wealthy patrons to partake in Hirst’s rotten prestige in a sterile way, without worrying about formaldehyde leaks.

Damien Hirst

Some People Actually Pay For This: A Hirst Spot Painting

Hirst is still flogging dead horses and more to maintain his top tier art market status. His latest gimmick is ironically putting paint onto a canvas himself, though I wouldn’t go so far as to grace the efforts with the status of paintings.

Spotty Accomplishments: Hirst Cherry Blossoms

Ultimately elites celebrate artists like Hirst because they have a death wish: they wish the rest of us would die, or at least be as passive as corpses while the powerful abuse and pillage our society. The establishment contributes to our destruction by replacing art with icons of physical, intellectual, emotional and spiritual deterioration.

A previous version of this article appeared in The Masculinist.

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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!

DAILY ART FIX: The Entire Art Market is a Giant ball of Hot Air

Art world links which caught my eye…

phot from tiny tap

As the recent Hunter Biden fiasco demonstrated, the contemporary establishment art market is a barely disguised criminal enterprise. This article lays out the reality.

I am here to tell you the truth. Every single establishment that successfully sells art, regardless of location, size or cultural denomination, has no interest at all in the creative talent or process of an artist.

It isn’t even part of the discussion, they just simply don’t care.

They won’t tell you that! Rather you will get all kinds of excuses like we don’t accept submissions, or our calendar is booked for the next 7 years, or they will tell you to send information and then they won’t get back to you, or they will say they are not looking for new artists.

I have explored every single  opportunity for artists all over the world and have spoke with thousands of gallery owners, art consultants, museum curators, art dealers, auction house experts, critics, and journalists. In all that time nearly all of them with very rare exceptions have no interest in creative energy or talent, at all.

Read the full article here: LINKEDIN – The Entire Art Market is a Giant ball of Hot Air

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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!

DAILY ART FIX: SCRIPTURE IN THE STUDIO (PART 1)

Art world links which caught my eye…

Reblogged from Michele Bledsoe’s blog The Secret Kingdom

My wife keeps treasures on her easel.

Draw near to God and He will draw near to you…

Amen.

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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!Edit

WE LOST A CENTURY OF CULTURE TO THE ESTABLISHMENT ART WORLD’S FAILURES AND MANIPULATIONS. THE NEXT CENTURY CAN BE OURS.

Norman Rockwell “The Connoisseur”

The American attorney and art collector John Quinn (April 14, 1870 – July 28, 1924) had a great insight about the avant-garde works he supported in the early decades of the twentieth century. He described his times as “an age of experiment rather than accomplishment.”

Quinn was describing the rise of Modern art. As early as the late 1700s, it was clear Classical art, reiterations of the ancient achievements of the Greeks, Romans, and Renaissance, did not adequately reflect the temper of the times. But what could? Modern artists bravely tried to find out.

It’s the nature of honest experimentation that failure is more common than success. In science a theory is proposed, tests are conducted, and the results are measured and analyzed, compared to the predicted outcome. But how can novel artistic experiences be rated?

Perhaps there is a fundamental test for art. Ultimately, art is a form of spiritual communication. Does the art deliver a sense of communion, connection, the eternal fellowship of humanity in a recognizable form? That would be successful art.

Much of Modern art’s attempts failed to reach those standards. Yet extreme experiments persisted, even as the appreciation dwindled. Like Spinal Tap, Modern art’s appeal became more selective. For some powerful people, that fulfilled an important non-artistic need: a new means for status signaling.

Cy Twombly, Leda and the Swan

Sold for $52 million in 2017

Any old sap could like skillfully created, beautiful, and meaningful art. Elitists had to flip the script, and make embracing the failed experiments, the ugly and obscure, the new standard of rarified taste. The establishment cultivated a culture war to preserve their isolating Mandarin authority.

We are all the poorer for it. For over a century now institutional support has been funneled into art meant not to unite, but to divide. Museums, galleries, and wealthy patrons warped the course of artistic evolution towards alienation, transgression, and incompetence, all the better to shock the bourgeois they despised. One hundred plus years of inverted snobbery was inflicted upon us. We’ll never know what might have been, what aesthetic glories the land of the free could have produced, without that interference.

This Is What The Gentry Class Fills Our Museums With. Sad!

It’s even worse now, in the Postmodern era. As I scan the art world’s official organs, I see nothing but partisan propaganda, leftist activism misidentified as art. These feeble efforts are deader than Lenin in his glass coffin, but all those who aspire to belong to the ruling caste must shuffle past and pay homage.

One of Postmodern Art Star Banksy’s Half Assed Editorial Cartoons Masquerading as Art

Those who we trusted as the caretakers of our culture betrayed us. We’ve had no support for art that reflects the true character of the United States, our might, goodness, and freedom. But the times are changing, and art can lead the way.

Cultural thought leaders look stupid propping up the absurdity they’ve made into the status quo. They’ve got no creditability left to squander. Their institutions are beyond reform. It’s time to start over. It’s a good place to be, because an American’s natural habitat is the frontier.

Even as Postmodernism undergoes its death throes, a new understanding is rising in the populace. The people are regaining the powers which have been usurped from them. This is the beginning of the Remodern era, and it’s informed by American principles. As I state in my 2018 book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:

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.

The “art as experiment” analogy really isn’t quite satisfactory, because art is not like science, and conflating the two has been disastrous for our society. Elitists defensively over-intellectualized art, which is most effective as a visceral, soulful experience.

Billy Childish, an English artist who first codified Remodernism with painter Charles Thomson in 1999, described a hands-on strategy for the way forward. “The idea is painting, not having ideas about painting…In many ways I sort of like to look on myself as amateur in everything I do. The amateur does things for love, and belief, not for the mortgage.”

That’s the spirit. Look at what “amateur” politician Donald Trump achieved. He put the experts to shame – or rather, he exposed they were lying about their true goals and intentions.

Just like in our politics, no solutions for art’s crisis of relevance will come out of the corrupted hierarchies of the current professional classes. Fortunately, we don’t need anyone’s permission to create a faithful depiction of who we truly are, in art and politics both. Let’s get on with it.

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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!

DAILY ART FIX: AN ART EDUCATION IN POSTMODERN TACTICS

In August, I became a contributor to The Masculinist, a website exploring men, faith, and culture.

From August 20, 2021: AN ART EDUCATION IN POSTMODERN TACTICS

Cindy Sherman "Untitled Film Still #84" Photograph [Fair Use] Wikiart

Cindy Sherman “Untitled Film Still #84” Photograph [Fair Use] Wikiart

There’s a common denominator to many of the problems our culture is undergoing. There has been a top down effort to drag society away from reality, and a mighty attempt to break the logical sequence of cause and effect. Based on administrative class manipulations, a politically driven preprogrammed narrative is supposed to overrule real life experiences, and all outcomes are to be filtered through ideological interpretation. We aren’t individuals with agency; we are divided into collective identities in conflict.  We’ve come to call this methodical corruption Postmodernism.

I have been aware of the Postmodern plot more than most because I first encountered this toxic mindset in a visual form, when I was an art student in the 1980s. Art is a leading indicator of social change, and over the decades since I’ve witnessed the distorted thinking I first encountered in the studio spread throughout society.

My Postmodern education started with a photographer: Cindy Sherman (b January 19, 1954). This internationally renowned artist was all the rage in the Virginia Commonwealth University art department. Students raved about her brave feminist stances, her creativity, her fiery social critiques.,,

Read the full article here: THE MASCULINIST – AN ART EDUCATION IN POSTMODERN TACTICS

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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!

DAILY ART FIX: Contemporary Artists Pay Tribute to Bosch’s Powerful Imagination

Art world links which caught my eye…

SMACK, “SPECULUM” (2016-2020), installation view

Hieronymus Bosch’s fantastical, large-scale triptych “The Garden of Earthly Delights” has enthralled and mystified viewers for centuries. Painted between 1490 and 1500, the work’s weird and wondrous depictions of paradise and hell continue to capture our attention, reminding us of our own hectic, excessive, and sometimes catastrophic world. Bosch’s masterpiece has been on display at Madrid’s Museo del Prado since 1939, where it has inspired generations of artists, including Surrealists like Dalí and Miró. Today, a new exhibition pays tribute to the lasting influence of this iconic painting and to Bosch’s powerful imagination.

Tributes, or inferior, uninspired, politically correct rip offs? You be the judge.

Read the full article here: HYPERALLERGIC – Contemporary Artists Pay Tribute to Bosch’s Powerful Imagination

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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.

Social Climate Change is the One to Focus On

Richard Bledsoe “The Conspirators” acrylic on canvas 24″ x 24″

I originally posted the painting above to this blog on March 31, 2019. This is what I had to say about it at the time:

My latest completed painting. These sinister characters lurk in the shadows and plot. It is them, and those of their ilk, which have woven the web of delusions that are driving our culture to ruin.

I spend a lot of time on the internet studying current events and bizarre phenomenon. I see something truly massive taking form that will change the dynamic of the entire world. I call these changes the dawn of the Remodern Age. I describe them in detail in my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization.

Am I crazy, or ahead of the curve? Time will tell. In the meantime, here are another couple of sinister characters.

Richard and Michele Read the News

A year later, on March 31, 2020, we had just been informed two weeks to flatten the curve was just not good enough. Really. Flatten the curve, or flatten our civilization?

I am convinced the painting I made was a premonition of the Overblown Outbreak. What I did not take into account in the prediction made in my statement is before we reach the Remodern era, we have to survive the death throes of Postmodernism. We’re living that now, and it’s ugly.

The state of the culture is like that quote about the weather attributed to Mark Twain: everybody’s talking about it, but no one does anything about it.

Granted, there’s lots to complain about. Any sensible observer can see the social environment is rotting before our eyes. There’s endless commentary available on the latest outrages, and the hits just keep on coming.

It is important to call out the issues occurring. The first step towards change is recognizing there is a problem. But it’s only the first step. Once the problem is identified, it’s not effective to just keep recognizing it, over and over again. Action is called for.

Unlike the phony climate change hoax, the social environment is manmade. The cultural decay we are experiencing is the result of deliberate behaviors by specific people. They have intentions, and they make decisions. Funds are spent or withheld; access is granted or denied; viewpoints are encouraged or suppressed. The originating perpetrators tend to move stealthily, shielded by bureaucratic haze and patient incrementalism. Accountability is so defused, it is non-existent.  This is by design.

Much of the proclaimed Postmodern mindset is based on severing the rational connection between cause and effect. Popular Postmodern positions require accepting delusions like being born a particular sex does not determine what “gender” you are. Or that community crime is caused by too much of a police presence. Or that the most free, prosperous and diverse nation in human history is the most racist and oppressive.

The Postmodern philosophy tends to be a package deal; if you believe any of this junk, odds are you believe all of it. Easily verifiable evidence refutes these assertions, and scores of other crazy notions like them. And yet the evidence is not heard; it’s not even allowed to be presented. This is not an accident, not just chance or misfortune. It’s a carefully managed plan.

We don’t know the names of those who are ultimately driving these schemes. That’s part of the plan as well. What I can see informs me that these persons unknown are very aware of the reality of causation, and the destructive results of the ideas they promote. This isn’t a situation of unintended consequences.  The influencers aren’t deluded; they are manipulative liars, living embodiments of Doublethink double standards. They are superspreaders of delusion. They’ve weaponized it to advance their agenda.

Sadly, through covert campaigns, our cultural institutions are inundated by those working towards the death of our culture. Whether the participants are fellow travelers or just useful idiots, the end results will be the same.

Now, enough with the recognizing of the problem, again. Once recognition happens, it’s time to take responsibility.

What are we to do? I have great hope here. This human caused social environment crisis can be countered by other humans. Knowing most of our existing hierarchies are hopelessly compromised at the moment, independent action is called for. Let us be a joyous insurgency, each in our own way.

I have a soft target, in the arts. Establishment art has degenerated into an alienating money laundering racket. The audience for contemporary art is practically nil. Yet the creation and contemplation of art is an instinctual appetite for humanity. We still need it, want it, crave it even.

All you people who ever visited an art gallery or museum and left baffled or upset, I’m speaking to you. You were never the problem. So much of what our compromised cultural institutions present as art isn’t really art at all. It is propaganda meant to prop up the delusion. You knew they were failing to meet the genuine need for art you had.

I make art that comes to me in visions. Like dreams, the visions are full mysterious significance, and affirm the beauty and weirdness of the life God has granted us. My works will not be to all tastes, and there’s nothing wrong with that. Just know my paintings are the result of a sincere effort to share my particular nature in an attempt to reach universal connection.

Trust your own instincts, and find the art that appeals to you-or even better, try to make it yourself. It’s a rewarding experience, with endless capacity for growth.

Taking free actions, rejecting approved parameters of the officially sanctioned narrative, is how we can make actual climate change happen. It’s the Remodern 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!