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! 

STUDIO: Highlights from my Image Morgue

Inspiring Imagery Fuels the Image Bank in my Mind 

 

An update of an earlier post on how I collect the images I need to create my work:

 

STUDIO: The Image Morgue (May 20, 2016) 

These fragments I have shored against my ruin: a sample of my reference material

“The model is not to be copied, but to be realized.”

-Robert Henri

In painting, there really are no rules. But understanding painting as I do, there is a prevalent practice these days which I find completely undermines the integrity of the act.

Projector artists. Artists who cheat themselves and their audience by projecting an image onto their canvas and doing a paint-by-numbers routine to create their works. Artists like this have reduced themselves to a mere cog in a mechanical reproduction process, not creating, but taking dictation from their gadgets. They let their tools make their discoveries for them. It is an inferior mode of creation.

If you’re an artist, do your own rendering.

Now I am not rejecting the use of source material. I learned the hard way, through years of artistic practice, I lack the omnipotent powers of observation and recall to paint strictly out of my own mind and produce the results I want.

How do a frog’s legs attach to its body? How many wings does a mosquito have? What is the musculature of a horse? These are just some of the composition problems I have encountered. I can’t see clearly enough into my memory to reach the level of realism I want in my paintings.

So I use source material. Not all the time, but when it’s important to get something right, and I can’t summon the depth of detail I’d like to. When needed, I find photographs on the internet of what I want to portray, print them out, and study them.

But then-and this is the really important part-I put the photograph down, and paint what I remember about it, what I learned about it.

The image passes through the filters of my consciousness and becomes more me. And that is vital in art: depicting your own unique sensibility…

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I’ve been busy since I wrote that post, I’ve made many paintings, and envisioned many more.

This morning I added a picture to my digital image morgue folder for a new painting I’m contemplating. I haven’t printed it out yet because the painting is not yet begun:

  Ancient Olive Tree

 

I started browsing through the folder. Some of images have been used in paintings, possibly in ways you’d never recognize. Others were more particular and identifiable. I wanted to share this window into the workings of my creative procedures. These are some of the pictures which have caught my attention, out of the endless resources of the internet.

 

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As I state in my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, art isn’t about just reproducing appearances.

 

Making a painting becomes more than just a matter of how to represent something. It symbolizes the artist’s engagement with life. We want so much to make an image that says, “This is who I am, and this is what I saw.”

When we do it right, everyone who sees it will find that image inside themselves as well. It becomes a moment we share, and which can be visited over and over, with new understandings always unfolding. This is the power of art.

Ultimately a painter doesn’t replicate the real world, but creates a world in the painting that exists nowhere else. There are no limits for a painter; every decision in the work can be freely made to best suit the desired result.

 

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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! 

SACRIFICING ART-AND EVERYTHING ELSE-TO THE CLIMATE CHANGE CULT

The Climate Change Hoax:

Banksy Contributes Yet Another Piece of Establishment Agitprop 

 

“The Foundation of Empire is Art & Science

Remove them or Degrade them & the Empire is No More…”

-William Blake (1757 – 1827)

 

There’s a common saying across the internet these days: “Get woke, go broke.” The phrase acknowledges when a business emphasizes Social Justice Virtue Signalling instead of producing quality results, the bottom line will suffer.

Joining the Orwellian flock of conforming sheep, bleating out allegiance to the latest leftist trends, leads to annoyed audiences and alienated consumers. No healthy business actively seeks to piss off big parts of its customer base, but it’s been happening with increasing frequency for years. It’s gotten so bad even major corporations are serving notice they will no longer run their operations with efficiency and competence, but will squander resources chasing the ever moving goalposts of social engineering. Blame our Postmodern establishment, which has degenerated into acting as enablers and enforcers for the totalitarian left. Their abuses have warped many professions, especially the arts.

Art is not about money. Or at least real art isn’t, despite the manipulations and miseducation practiced by our current corrupt arts institutions. They exterminated ideals of quality and skill from art, so price tags act as a stand-in for measuring achievement. But a shady and inflated purchase price doesn’t add integrity to a work of art; it definitely can’t change non-art into an actual artistic accomplishment.

Postmodern partisans control the mass communication purse strings. They make sure only the ideologically pure get funding and exposure. Support is possible as long as an artist parrots the approved talking points, or fits into the favored diversity check boxes.

So assuming the money aspect gets covered by submitting to political expectations, are compliant artists then able to create meaningful, evocative artwork?

No. Even with a monopoly over cultural expression, the skewed messages favored by our self-appointed creative class censors are failing to connect, even with sympathetic audiences.

Take the relentless Climate Change Hoax, and how a 2015 art show bent the knee to it.

I’m 50 years old, and for my entire life I’ve been hearing we are teetering on the brink of an environmental catastrophe which never actually arrives. As supposedly urgent climate deadlines go whizzing by, the nature and timing of the threat constantly mutates, but the remedy is always the same: the people must sacrifice comforts, wealth and freedom so the New Aristocracy of the Well Connected can keep living the high life. ,

The graphic timeline below charts more than my whole existence, and lists just some of the erroneous claims made by the Mean Greens:

 

Seriously people. Looking at these 50+ years of fail, it can’t be any clearer. The predictions aren’t accurate. The models don’t work. The fears are unfounded.

It’s a plot to grab money, attention, and power. These schemers hate any part of humanity they don’t see when they look into their own mirrors. They are indifferent to the suffering they would unleash, as long as they get to be in control. Get a load of this poor brainwashed thug-in-the-making:.

 

Doomsday Addams Wants You to Stop Breathing Right Now. For the Children. 

 

Does this look like someone manifesting long term planning, reason and compassion? Or is the face of someone who can’t wait to segregate us into our assigned cattle cars?

“Climate Change” isn’t science. It is mass hysteria and rent-seeking disguised as an emergency. The Progressives intend to progress us right back into the Dark Ages.

Art got recruited to be part of this charade in 2015, at the United Nations affiliated ArtCOP 21 event in Paris. “Climate is culture!” the bureaucratically  engaged creatives cried, instead of recognizing that culture is culture, and climate is weather.

A Horse Is a Horse, of Course, of Course? 

Take the example of this participant, performance artist Marion Laval-Jeantet. Her “art”  is described as:

Marion Laval-Jeantet allowed herself to be injected with horse blood plasma containing the entire spectrum of foreign immunoglobulins (following several months of precautions to build up her immune system). after the transfusion, the artist performed a communication ritual with a horse while wearing prosthetic horse-like stilts before her hybrid blood was extracted and freeze-dried…

“I had the feeling of being extra-human, I was not in my usual body. I was hyper-powerful, hyper-sensitive, hyper-nervous and very diffident. the emotionalism of an herbivore. I could not sleep. I probably felt a bit like a horse.”

Doctor Moreau, call your office. Thank goodness we have such paragons of science hyper-involved in the arts! What this actually has to do with climate, I couldn’t tell you, but surely she got paid to make this madness happen. Horse-like stilts are probably very expensive.

What is interesting is that a study was done of how the various artworks at the climate change carnival influenced the viewers. Not too much, it seems. Artnet explains:

 

Can Art Change Minds About Climate Change? New Research Says It Can—But Only If It’s a Very Specific Kind of Art

Only three works out of 37 left viewers feeling inspired to take action.

Researchers have found that art on show in Paris during the 2015 United Nations climate change summit did change people’s feelings about the environmental crisis, but only if it contained a hopeful message.

In a new paper published in the journal Psychology of Aesthetics, Creativity and the ArtsLaura Kim Sommer and Christian A. Klöckner of the Norwegian University of Science and Technology have identified a narrow set of parameters for what makes activist art effective in altering public opinion.

The study surveyed 874 visitors’ reactions to works on view at the ArtCOP21 climate change festival, which saw artworks scattered throughout the city of Paris to coincide with the World Climate Change Conference. It looked at their emotional reactions, the relevance of each work of art to their daily lives, and how much the works inspired personal reflection or action, according to Pacific Standard. Based on the results, researchers were able to divide the show into four categories: “the comforting utopia,” “the challenging dystopia,” “the mediocre mythology,” and “the awesome solution.”

In the end, only three works among the 37 on view made people feel like they were able to do something about climate change. All three, which were categorized under “the awesome solution,” were “beautiful and colorful depictions of sublime nature that are showing solutions to environmental problems,” Klöckner and Sommer wrote…

To the researchers surprise, the participatory works on view did not have much effect on visitors. “It did not make them reflect much on their own role within the climate crisis or the consequences a changing climate would have for them,” Sommer told artnet News in an email. “It just gave them a sense of belonging, which is why we called it the ‘comforting utopia.’ I was expecting that offering people a way to participate would lead to more engagement. But it seems that people want to be made aware of something awe-inspiring by someone that thinks differently, rather than be part of the creative process.” [emphasis mine]

So let me get this straight. People enjoyed the beautiful artwork, which showed them something they judged to be beyond their own skill levels. It made them feel more connected. And that is striking a blow for climate change activism?

Or is what described actually a very traditional experience of art, and the climate change con artists are hijacking the response, claiming it fulfills their agendas?

The Postmodern Establishment is trying to switch off the Enlightenment. The climate change hoax is an attempt to de-industrialize the West, even as our political classes continue to live in luxury. They try to use art as one of their tools of propaganda. Even when their hand-picked artists fail to get the desired result, they co-opt the interpretation, and explain why they win again.

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

 

The Modern age was the greatest liberation of humanity in history. As we became more efficient in providing the necessities of existence, we had more freedom to determine what kind of lives we wanted to live. As Modernism rose to highlight the potentials of individual initiative, leftist political movements counterattacked. Their goal was to squash humanity back into undifferentiated, subservient masses.

The elitists understood to maintain power, they had to undermine resistance. That’s why the top down cultural forces have made Postmodernism so prevalent. Using mass media to communicate their sickening message, the establishment made dispiriting Postmodernism the terrain we all must navigate, the atmosphere we all must breathe, the environment we all must adapt to.

The real climate change we need is the annihilation of Postmodern corruption. The Remodern Age has already begun.

 

Catering to Postmodern Madness is Thinking the Crocodile Will Eat You Last 

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! 

 

ART QUOTES: Virgo Artists

Louise Nevelson “Night Flight #1”

“Creation is always kind of innocent and refreshing… always virginal to me… and it’s always a surprise. “

-Louise Nevelson (Born September 23, 1899)

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I don’t believe the stars control our fates, or can be used to tell our fortunes. But life has proven to me again and again the time of year a person is born does seem to influence their personalities.

Why would this be the case? I have no idea. But my observations show me the universe is full of patterns, cycles, all evidence of the great underlying order beyond our limited human perceptions. The pseudo-science of astrology is the result of centuries of study on human behavior. Somehow we find echos of our souls projected out into a cosmic scale; around and around we all go, playing our variations of the 12 eternal roles manifested in symbols of animals, mythical beasts, and human archetypes.

 

We are now in the time of Virgo (August 23-September 23). They are symbolized by a maiden gathering wheat, a summation of their temperament: a reserved, industrious gleaner and organizer.

Virgo  Traits

  • Analytical
  • Organized
  • Modest
  • High Strung
  • Critical
  • Perfectionist

Can you see the Virgo personality reflected in the work and words of these artists?

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Margaret Keane “The Stray” 

“I’d rather be home alone, painting.”

-Margaret Keane  (Born September 15, 1927)

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Jacob Lawrence “The Seamstress”

“When the subject is strong, simplicity is the only way to treat it.”

-Jaconb Lawrence (Born September 7, 1917)

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Jean-Auguste-Dominique Ingres “Grande Odalisque”

“The chief consideration for a good painter is to think out the whole of his picture, to have it in his head as a whole… so that he may then execute it with warmth and as if the entire thing were done at the same time.”

Jean-Auguste-Dominique Ingres (Born August 29, 1780)

 

Jean Arp “Man, Mustache, Navel”

“Ever since my childhood, I was haunted by the search for perfection. An imperfectly cut paper literally made me ill. I would guillotine it.”

-Jean Arp (Born September 16, 1886) 

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Maurice Quentin de La Tour “Self Portrait” 

“It is maintained the painters see the same object differently, for example in respect to color, and that due to this variation in their vision one can immediately recognize their works, even from a distance.”

-Maurice Quentin de La Tour (Born September 5, 1704) 

 

Previous Zodiac Art Quotes:

Taurus Artists

Sagittarius Artists 

 

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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. Thanks! 

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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. 

 

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

 

COMMENTARY: The Art of Bigfoot and Painting as Philosophy

Richard Bledsoe “Along the Allegheny 1767″ oil on canvas 30″ x 24”  

 

Even though I write a blog about art, I do not believe art should reply upon words to be effective.

Excessive explanation is one of the worst traits of the corrupted Postmodern art world. Lots of hackwork gets propped up by commentary, both by artists themselves and the institutions which support them. These days most of the extraneous chatter consists of appeals to grievance groupthink or other politicized posing. This trend follows academia’s current status: deep in the septic tank of Cultural Marxism.   It’s predictable that those best at spouting the party line aren’t really the creative ones.

No virtue signalling propaganda will ever fulfill that crucial human need for art. Great art speaks for itself, no explanation or justifications needed. It uses a language without words, which speaks directly to our souls.

Nevertheless, being of an analytical nature, I can’t help thinking about painting, and describing my observations.

First, painting is philosophy. Not in the pedantic sense, where insular scholars endlessly split hairs, and quibble over nuances. Painting is philosophy in action. Painting is translation, changing esoteric thoughts into comprehensible forms. Painting is consciousness harnessed by a physical process, which creates evidence of an individual’s world view. Show me what you paint, and you show me who you are.

Second, what do my paintings say about me?

I have come to identify two great currents which run through my art. I’m always a story teller, a painter of fables and parables. But I see the nature of the stories told come at me from both on high and down low.

I call this dichotomy the Canon and the Tall Tales.

The Canon reflects my impulse towards the stately achievements of  Western Civilization. As I state in my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, “The expansion of Western civilization had been nurtured by belief in objective standards, which originated from an underlying order. Whether this order was divine or merely natural was debated, but the acceptance of universal laws was pretty universal.”

We of the West have an amazing legacy to draw on. Our forefathers bequeathed us great traditions of faith, science, art, literature, and law. Part of my art is part of that continuum of grand accomplishments. To recognize the structures. To uphold the harmony of reason, grace, and beauty.

Where some of my artistic practice drifts down from the cosmos, other parts of it pushes out of the earth like toadstools.

The Tall Tales are the grotesque gargoyles on the soaring cathedral. The ghost story told around the campfire. The frightening fairy tale told by a beloved grandmother with a big wart on her nose. It’s the spooky and the strange and the dark places. These things are just as much a part of humanity as the decisiveness and compassion of our better angels. They  are also as American as Edgar Allen Poe, and Robert Johnson.

I realized both aspects of my artistic viewpoint came together in the painting above, Along the Allegheny 1767. It depicts what happens when the representatives of the uniformed hierarchies of the Old World encounter the mysterious weirdness of the American wilderness. Magical things occur.

Currently our tainted elitists are ruthlessly attempting to suppress and destroy our heritage so they can rule over us unopposed by any notions of quality. The rise of the Remodern era shows they have failed in their cultural suicide mission.

 

 

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; Along the Allegheny 1767 is available, along with many others. Please send any inquiries to info@remodernamerica.com. 

 

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