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

One Of My Favorite Paintings Ever:

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

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

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

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

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

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

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

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

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COMMENTARY: The Doublethink Strategy of Cultural Elitists

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

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

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

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Leftists Literally Evoke Satan to Save Their Collapsing Cultural Cabal

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

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ARTISTS: Charles Thomson is Stuck in the Remodern

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

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I hope you enjoy some of my greatest hits!

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

Learn more About My Art: Visionary Experience

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

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

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

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

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The Remodern America Manifesto Part 1: Defining the Problem

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

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

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

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

THE REMODERN AMERICA MANIFESTO

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

1. Art is undergoing a crisis of relevance. Elitist malfeasance has marginalized the visual arts in popular culture. In doing so, the New Aristocracy of the Well-Connected block access to powerful resources. They deny our society the inspiration to live up to ideals, the encouragement to think and feel deeply, the yearning to harmonize with truth and beauty. As a result, the mass audience has turned away. People instinctually reject the superficial and nihilistic contemporary art championed by an imperious would be ruling class.

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

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

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

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

Learn more About My Art: Visionary Experience

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

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

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

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

VIDEO: The Art World is a Scam (And Rich People Run It)

Art world links which caught my eye…

A video produced by Wendover Productions. Their YouTube “About” page says they are “explaining how our world works.”

They sure explain the contemporary art market, as a corrupt, insular money laundering scheme which has nothing to do with art. As the video states, “There isn’t one, blockbuster scam at the center of the art market. Rather, it’s a market composed of scams.”

Our cultural institutions have been co-opted to serve this criminal enterprise instead of providing genuine artistic experiences to society.

One of the scams used is the Big Store con game, as described in my 2018 book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization.

Major money visibly changes hands these days at art auctions and art fairs. The whole machinery of these angles of the establishment art racket are the equivalent of the fraud technique called “The Big
Store.”
The Big Store sets up a controlled environment where everyone except the marks are creating the appearance that they are transacting legitimate business. In the art market version, offering valueless
art through once reputable auction houses or in the celebrity soaked version of a swap meet gives a veneer of legitimacy to the proceedings.
Everyone the mark might encounter at such events—artists, dealers, journalists, academicians, other patrons—everyone is invested in perpetuating the delusion. There’s careers on the line and billions
of dollars at stake in keeping the hype alive, because hype is all that keeps this ridiculous bubble inflated.
There are lots of different parts to play in the Big Store. A “Shill” operates to promote the con game without revealing their personal stake in the outcomes. For instance, auction houses like to present
themselves as if they were scholarly institutes objectively discussing the amazing importance of the works displayed. The fact they are looking to collect fat commissions from the sale of said objects is
discretely overlooked.
The “Face” is a glamorous participant intended to distract the mark from thinking clearly. The glut of celebrities and Beautiful People that are drawn to exclusive art happenings guarantee buzz will exceed
rationality during such events.
The “Roper” is probably the most strategic player in the art market these days. This is a person whose affluence leads to influence, a savvy and powerful individual whose participation gives credibility to the whole enterprise. What is ignored is how much moguls like this manipulate the market to serve personal interests, using insider trading, shady financing and backroom deals to inflate the value of
their own collections.
In any other industry, common practices of the establishment art market could probably lead to criminal charges. But in the unregulated free-for-all of the art world, it’s very hard to bring these cases of potential white-collar crime to justice, and the victims here are less than sympathetic. After all, the buyers are people who have so much money it’s meaningless to them. Who cares if a bunch of billionaires are getting ripped off?
It’s not really the suckered patrons who are the biggest victims here. Our society as a whole is being debased. By taking art, the manifestation of the soul of our culture, and replacing it with a cynical system that exists only to enhance egos and bank accounts, we’re undermining the quality of everyone’s shared existence.
These self-indulgent poseurs are subsidizing Postmodernism’s attempt to destroy Western civilization. The self-serving attitude of big money art world participants is a public disgrace, and it’s about time
they were made to feel it. As a society, we need to speak out, and strip the prestige away from the nihilistic, expensive hackwork our institutions promote.

As bleak as this situation is, I see it as an opportunity. As the current elites crash the culture in a desperate attempt to maintain their grip on power, their phony art world will collapse with them.

We can rebuild art to serve as spiritual communion for society again, which was its traditional and valid function.

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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: ‘Damien Hirst stole my cherry blossom’: artist faces plagiarism claim number 16

Art world links which caught my eye…

Damien Hirst at the opening of his Cherry Blossoms show, at the Fondation Cartier in Paris

Rip Off Artist: Damien Hirst

I’ve written before on Damien Hirst as the installed king artist of the establishment’s death cult. I even commented on the pieces now in question.

As poorly executed as Hirst’s Cherry Blossom paintings are, it seems once again the idea wasn’t even his own inspiration, but was lifted intact from another artist. This has been a pattern in Hirst’s career.

Over the years, Damien Hirst has faced more than one accusation of copying someone else’s work, with artists variously claiming to have created his diamond skull, his medicine-cabinets and his spin-paintings before he did. The one-time enfant terrible of the British art world has always denied plagiarism, although he did go as far as saying in an interview in 2018 that “all my ideas are stolen anyway”.

Now he is facing fresh allegations. His cherry blossom paintings in his latest exhibition, which has just closed in Paris, have prompted outrage from the English artist and writer Joe Machine, who says they look just like his own cherry blossom paintings.

The article features commentary by Charles Thomson, the co-founder of Remodernism.

But Charles Thomson, the artist and co-founder of the Stuckists, an international group campaigning for traditional artistry, did a double-take when he first saw Hirst’s paintings: “I thought they were Joe’s – and then I realised they were Hirst’s. If people see Joe’s work, they’re going to think he’s copied Hirst.”

Read the full article here: GUARDIAN – Damien Hirst stole my cherry blossom’: artist faces plagiarism claim number 16′

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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: Theme Songs for Our Artistic Methods

From June 11, 2017

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

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I’ve written before about how vital music is in our studio, as the soundtrack of our art. Recently my wife Michele Bledsoe and I took our musical influences to an even greater intensity. One afternoon while we were painting, we identified songs that we felt epitomized the way that each other approached creating our art.

You see Michele and I have very different methods to the way we paint; we are diametrically positioned, which is why being a married artist couple works so well for us. Opposites attract. We both act as conduits in our artistic expression, but it’s very different forces that we channel.

Michele has spent years watching me paint in a kind of frenzied trance, taken outside of my normal senses in service of the art. While I paint I tend to pace, curse, pray, rant. It’s an ecstatic process for me; not just in the sense of happiness, even though it fills me with joy. It’s so intense I’m not paying attention to the way I’m behaving. An unknowing witness would not understand all my frantic swearing is actually a sign of overwhelming engagement, as I push further.

Michele’s song for me is “Crossroads” by Tom Waits, a collaboration with writer William Burroughs. The story it tells shows the sense of abandonment to the demands of creation, no matter the personal cost. There is nothing diabolical about what I’m going for, but the reckless commitment is there. I always say painting is my healthiest addiction.

Click the image to see the video “Crossroads” here:

The lyrics:

Now, George was a good straight boy to begin with, but there was bad blood
In him someway
and he got into the magic bullets that lead straight to
Devil’s work, just like marijuana leads to heroin;
you think you can take them bullets or leave ’em, do you?
Just save a few for your bad days
Well, well we all have those bad days when we can’t hit for shit.
And the more of them magics you use, the more bad days you have without them
So it comes down to finally all your days being bad without the bullets
It’s magics or nothing
Time to stop chippying around and kidding yourself.
Kid, you’re hooked, heavy as lead
And that’s where old George found himself
Out there at the crossroads
Molding the Devil’s bullets
Now a man figures it’s his bullets, so it will take what he wants
But it don’t always work out that way
You see, some bullets is special for a single target
A certain stag, or a certain person
And no matter where you aim, that’s where the bullet will end up
And in the moment of aiming, the gun turns into a dowser’s wand
And points where the bullet wants to go
George Schmidt was moving in a series of convulsive spasms, like someone
With an epileptic fit, with his face contorted and his eyes wild like a
Lassoed horse bracing his legs. But something kept pulling him on. Now
He’s picking up the skulls and making the circle.
I guess old George didn’t rightly know what he was getting himself into
The fit was on him and it carried him right to the crossroads
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 Michele’s mode of painting could not be more different.
Michele Bledsoe “The Great Fear of Falling” acrylic on canvas 14″ x 11″
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I have spent years watching Michele work tranquilly at her easel. She sits down and the art just begins to flow out of her, methodically, with great order. Layer upon the layer the intensity builds without interruption until she has crafted a mysterious and moving environment. She calmly renders complex compositions with profound depths and eruptions of otherworldly expressiveness.
 
 
What musician other than Ludwig Van Beethoven could reflect such a method?
 
 
My song for Michele is Beethoven’s Symphony no. 7 in A major, Op. 92, the second movement, Allegretto. It starts so quietly, but goes through cycles of growth until it is truly cosmic in scale. Such precision and feeling. That is how Michele makes her art.
 
 
There aren’t any lyrics, but there’s no need for those when the music speaks so eloquently on its own.
 
 
Click on the image to see the video for the 7th Symphony, “Allegretto” here:
What would be the theme song of your artistic method?
 

“The Remodernist’s job is to bring God back into art but not as God was before. Remodernism is not a religion, but we uphold that it is essential to regain enthusiasm (from the Greek, en theos to be possessed by God).”

-The Remodernism Manifesto

 
 

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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!

Artist Quotes About America

Reposted from July 3, 2017 

Thornton Dial “Don’t Matter How Raggly The Flag, It Still Got To Tie Us Together”

“If we going to change the world, we got to look at the little man.”

Thornton Dial

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Happy Independence Day!

In large part, the creative classes are saturated in globalist propaganda. The institutional indoctrination is very thorough, and of course most funding opportunities rely on conforming to the elitist gentry agenda.  Sad!

However, there are examples of artists who spoke their minds about the fantastic nature of the American experience. In the United States our culture is currently experiencing the death throes of manipulative, oppressive Postmodernism. As we enter the new era of Remodernism, the return of art as a revelation, expect to see more artists express the ethos of liberty in deeds, words and pictures.

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Andy Warhol “Van Heusen (Ronald Reagan)”

“I met someone on the street who said wasn’t it great that we’re going to have a movie star for president, that it was so Pop, and when you think about it like that, it is great, it’s so American.”

-Andy Warhol

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Thomas Eakins “The Champion Single Sculls”

“Of course, it is well to go abroad and see the works of the old masters, but Americans… must strike out for themselves, and only by doing this will we create a great and distinctly American art.”

-Thomas Eakins

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Arthur Dove “Me and the Moon”

“What constitutes American painting?… things may be in America, but it’s what is in the artist that counts. What do we call ‘American’ outside of painting? Inventiveness, restlessness, speed, change..”

-Arthur Dove

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Jacob Lawrence “The Migration Series Panel 58”


“Maybe…humanity to you has been reduced to the sterility of the line, the cube, the circle, and the square; devoid of all feeling, cold and highly esoteric. If this is so, I can well understand why you cannot portray the true America. It is because you have lost all feeling for man.”

-Jacob Lawrence

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Willem De Kooning “Dark Pond”

“I feel sometimes an American artist must feel, like a baseball player or something – a member of a team writing American history.”

-Willem De Kooning

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Georgia O’Keeffe “Cow Skull: Red, White and Blue”

“One can not be an American by going about saying that one is an American. It is necessary to feel America, like America, love America and then work.”

-Georgia O’Keeffe

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Jack Kerouac “Untitled”

“I felt like a million dollars; I was adventuring in the crazy American night.”

-Jack Kerouac

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Grant Wood “Stone City, Iowa”

“I had to go to France to appreciate Iowa.”

-Grant Wood

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Richard Bledsoe “The Pop Star”

Remodernism is the latest iteration of the American character: ordinary people working as explorers and inventors, optimistic, self-reliant and productive.”

-Richard Bledsoe

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RICHARD BLEDSOE is a visual story teller; a painter of fables and parables. He received his BFA in Painting from Virginia Commonwealth University. Richard has been an exhibiting artist for over 25 years, in both the United States and internationally. He lives and paints happily in Phoenix, Arizona, with his wife Michele and cat Motorhead. He is the author of Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:

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.

Remodernism is the return of art as a revelation.

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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: Books – We Go to the Gallery by Miriam Elia

An earlier version of this article was posted June 3, 2015

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Miriam Elia illustrates a point

In America, older generations than mine grew up with “Dick and Jane” books. The simple words and clean cut imagery of these works were meant as a teaching tool for young readers.

It seems the British version was “Peter and Jane.”  The names might have been different, but the intent was the same: an educational experience for kids, presented in an easily assimilated,  non-threatening format.

As society grew more cynical, succinct statements  like “Look Jane, see Dick” took on an unwholesome, ironic taint. The images now evoke a whole vanished era, a time of earnest naivete and lost innocence.

UK artist and writer Miriam Elia took full advantage of this gentle nostalgic vibe in 2014.  She released “We Go To The Gallery,” appropriating the traditional format associated with Ladybird, the British publisher of children’s  easy reader books. But in Elia’s version, the kids are being subjected to the soul crushing ordeal of viewing contemporary establishment art.

In panel after panel, Elia skewers the nasty nihilistic productions of the decadent cultural elitists.

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Along the way many recognizable conceptual art works are referenced, with the Mummy character spewing the stale turpitude so essential to post modern poseurs. The corruption and presumptions of culture industry hacks make them ripe targets for such mockery.

On her site Elia used to advertise a lecture on “learning principles”:

-Helping children understand there is nothing to understand

-Ensuring the child’s own opinions match those of the arts elite

-Preparing young people for a lifetime of crippling uncertainty

She’s presenting this as a joke. But when I realize that is exactly what our institutions are actively doing for real, I find it less amusing.

When I first discovered this book in 2015, it was unavailable. It seems the traditional publisher didn’t appreciate the mockery and some legal shenanigans ensued. In some of the images on the internet the character names were changed to John and Susan, and I wonder if that wasn’t an effort to bypass some of the copyright concerns. Now, in 2021, We Go the Gallery is back at Amazon; the site explains: “The 2014 limited edition of We Go to the Gallery was threatened with a lawsuit by Penguin UK (owners of the Ladybird imprint), which was withdrawn following a recent change in UK copyright law allowing for parody and satire.”

There is an extreme disconnect between the feebleness of contemporary art and the attitude of sophisticated superiority the elitists display. Irony was once their weapon. Now it is their shield. Soon it will be their tomb.

A generation’s worth of careers, reputations and investments have been built in a dead end, a pitfall of decadence and power lust. Outside of their carefully screened zones of consensus they are meaningless. But we can’t cede the custodianship of our civilization to these perpetrators. It’s time we start invading their enclaves and confronting their failures both as artists and as human beings.

Concise observations like Elia’s, presented with inescapable deadpan humor, will be the death of the current art bubble. Smart people are looking for the exits already.

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RICHARD BLEDSOE is a visual story teller; a painter of fables and parables. He received his BFA in Painting from Virginia Commonwealth University. Richard has been an exhibiting artist for over 25 years, in both the United States and internationally. He lives and paints happily in Phoenix, Arizona, with his wife Michele and cat Motorhead. He is the author of Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization.

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

Learn more About My Art: Visionary Experience

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

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

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

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

DAILY ART FIX: On Artist Joseph Cornell

Art world links which caught my eye…

A repost of a blog I originally wrote on January 28, 2017

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Joseph Cornell “Untitled (Hotel Eden)”

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“Beauty should be shared for it enhances our joys.
To explore its mystery is to venture towards the sublime.”

-Joseph Cornell

After I moved to Phoenix, Arizona in 2000, and spent some time absorbing the local art scene, I noticed something very different than what I was used to. I had come from Richmond, Virginia, where at the time painting was the predominant art form. In Phoenix I saw lots of assemblage. Assemblage Art is like making three dimensional collages, creating composed groupings out of just about any object imaginable. I’ve become a huge fan of this technique, which can be utilized to create such poetry: visual fragments shored against our ruins.

On thinking of assemblage art I think of Joseph Cornell (December 24, 1903 – December 29, 1972), the undisputed master of the genre. Looking at the mysterious little worlds he evoked out of dime store trinkets, you would never imagine the seemingly mundane life the artist lived. He spent his entire adult existence in a tiny suburban home in Flushing, New York, which he shared with his mother and invalid   brother, for as long as they lived. His workshop was in the basement. Here he created the shadow boxes that described his romantic dreams about legendary ballerinas, faded Continental hotels, contemplative aviaries, and the celestial heavens themselves. This painfully shy self taught artist was accepted as a colleague by the Surrealists during their War World II exile in New York City. They recognized true vision when they encountered it.

Untitled (Tilly Losch), c. 1935 - 38 Box construction 10 x 9 1/4 x 2 1/8 inches (25.4 x 23.5 x 5.4 cm) The Robert Lehrman Art Trust, Courtesy of Aimee and Robert Lehrman, Washington, DC Photograph by Mark Gulezian/QuickSilver, Washington, DC © The Joseph and Robert Cornell Memorial Foundation/Licensed by VAGA, New York, New York

Joseph Cornell “Tilly Losch”

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joseph-cornell-untitled-celestial-navigation

Joseph Cornell “Untitled (Celestial Navigation)”

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Joseph Cornell Naples, 1942 Box construction, 28.6 x 17.1 x 12.1 cm The Robert Lehrman Art Trust, Courtesy of Aimee and Robert Lehrman (c) The Joseph and Robert Cornell Memorial Foundation/VAGA, NY/DACS, London 2015 Photo: Quicksilver Photographers, LLC Exhibition organised by the Royal Academy of Arts, London, and Kunsthistorisches Museum, Vienna Press use is considered to be moderate use of images to report a current event or to illustrate a review or criticism of the work, as defined by the Copyright, Designs and Patents Act 1988 Chapter 48 Section 30 Subsections (1) - (3). Reproductions which comply with the above do not need to be licensed. Reproductions for all non-press uses or for press uses where the above criteria do not apply (e.g. covers and feature articles) must be licensed before publication. Further information can be obtained at www.dacs.org.uk or by contacting DACS licensing on +44 207 336 8811. Due to UK copyright law only applying to UK publications, any articles or press uses which are published outside of the UK and include reproductions of these images will need to have sought authorisation with the relevant copyright society of that country. Please also ensure that all works that are provided are shown in full, with no overprinting or manipulation.

Joseph Cornell “Naples”

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Observatory: Corona Borealis Casement, 1950 Box construction 18 1/8 x 11 13/16 x 5 1/2 inches (46 x 30 x 14 cm) Private Collection, Chicago Photograph by Michael Tropea, Chicago © The Joseph and Robert Cornell Memorial Foundation/Licensed by VAGA, New York, New York

Joseph Cornell “Observatory – Corona Borealis Casement”

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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!

Leftists Literally Evoke Satan To Save Their Collapsing Cultural Cabal

The Left Goes to the Devil: Satanism is the New Black

Despite the ongoing pandemic psyop and hysteria which requires us to cover our faces, this is actually the era of the Great Unmasking. Our Postmodern credentialed classes have been exposed; their corruption, hypocrisy, and ulterior motives are on full display. Now as their monopoly on power and mass communications are being challenged as never before, many elites are openly siding with a cause they feel is the source of their authority. They want to redefine Satanism as the hip philosophy for the Twenty-first century.   

Looking at the oppression, suffering, and destruction the Left has caused whenever they gain control, it’s not like it’s any secret they are a force for evil. Hillary Clinton’s mentor, Saul Alinksy, was an early adopter of this establishment trend. On his dedication page for Rules for Radicals, his 1971 destruction of Western Civilization how-to book, Alinsky wrote:

“Lest we forget at least an over-the-shoulder acknowledgment to the very first radical: from all our legends, mythology, and history (and who is to know where mythology leaves off and history begins —or which is which), the first radical known to man who rebelled against the establishment and did it so effectively that he at least won his own kingdom — Lucifer.”

Better to rule in Hell, right Saul? What a shame he seemed to gloss over another quote on the very same page:

“Let them call me rebel and welcome, I feel no concern from it; but I should suffer the misery of devils, were I to make a whore of my soul….”

– Thomas Paine

Paine identifies it: to be a devil is to be miserable. So why go there? Best I can figure it, what is happening here is people who are already miserable are drawn to Leftist activism. It gives them license to try to make others as unhappy as they are.

Something is happening in the culture though, very much against the plans and preferences of the SJWs. Their monolithic totalitarians schemes are fading, as people actually dare to disagree with progressive priorities. So the hacktivists are reacting with all the stability and foresight that is always the hallmark of the Left: They are calling on Satan to save them. Numerous news stories have demonstrated the subsequent apparatchik acknowledgement of allegiance with the powers of darkness.

Hyperallergenic is an online “arts” magazine, which like most of the culture industries these days, performs a bait-and-switch, and presents Marxist proselytizing in place of creativity. In September 2020, they vomited out this little thinkpiece like Linda Blair spewed pea soup: The Story Behind a Misunderstood Satanic Monument:

“Satanic Panic” never really ended; it just fell out of fashion in mainstream media. With the rise of QAnon in Trump’s America, however, Satanism has received renewed interest across the conservative media spectrum. When the Black Lives Matter protests started bringing down Confederate memorials in June, far-right publications and organizations like The Washington Times and Turning Point USA called for the destruction of the Satanic Temple’s bronze statue of Baphomet, its patron deity with the head of a goat and angel wings.

These attempted takedowns betray long-held Republican beliefs in freedom of religion and respect of private property, leading Temple co-founder Lucien Greaves to denounce their legal and spiritual corruption. In an open letter posted on his Patreon, Greaves critiqued the false equivalence between Confederate monuments and the Baphomet statue, arguing that Satanists pose no real threat to religious freedom, and that Baphomet does not even currently stand on public property. (The statue is currently housed in the Temple’s headquarters in Salem, Massachusetts.)

“You can really learn about people’s cultural baggage by seeing how they react to the Baphomet monument,” Greaves told Hyperallergic. “It’s interesting to think this debate could merely be about what’s offensive to some type of individual, and that there is nothing qualitatively different about the Baphomet statue — which is openly symbolic of pluralism, diversity, and nonbinary identity.” (The Satanic Temple does not believe in the existence of Satan, nor does it worship the occult.)

Oh it’s a misunderstanding. A “temple” featuring a grotesque idol of a patron deity isn’t occult or religious, you rubes. Nor should it be compared to the real evil: historical tributes to Democrats who caused a civil war to trying to preserve their entitlement to own other human beings. No, you see, Satan is the good guy in Postmodern globalism. As the article continues:

Greaves and sculptor Mark Porter intentionally designed its calm and stoic facial expression to reflect the Temple’s non-violent mission and political status.

“People do not automatically think of Satanism as this murderous force anymore,” Greaves said. “There has been a perceptual shift in which people are able to embrace images that may have previously seemed untouchable and blasphemous. As much as this is a religious and cultural movement, it is also an art movement, and it all ties together.”

Much like the GOP’s fear-mongering around socialism, this new wave of Satanic Panic is a form of projection. What many Christians really fear is opposition to their notions of religious dominance, in both theory and practice. The Satanic Temple’s core principles include peaceful protest, adherence to science, body autonomy, and empathy toward all living beings. Many of its local chapters perform rituals from a non-superstitious, non-supernatural perspective while actively serving and beautifying their communities. They lead cleanup efforts for parks and beaches, hold sock and clothing drives for homeless communities, and distribute menstrual hygiene products for those without access. The Baphomet statue is the embodiment of this new paradigm, representing the only organization of its kind to gain political leverage in recent history.

Conservative reactionaries have always needed a scapegoat to blame for vice and deviance, and the Baphomet monument fills that role. In reality, though, Satanists are helping to debunk pseudoscience and organize against a theocratic status quo. It is no wonder, therefore, that far-right internet trolls want to portray Satanists as cannibals working for the deep state. Grieves views Baphomet as an entry point into the Temple’s efforts to mitigate religious racism and combat white supremacy throughout the country. (emphasis mine)

Please. The only theocratic status quo with any clout these days is the Authoritarian State as Religion, the creed of progressives everywhere.

Hillary Clinton herself, a woman of wealth and taste, recently signaled in a sly artistic reference she still is following in her mentor’s footsteps. Whether you want to assign the mentorship to Alinsky, or cut out the middleman and go right to the source, is up to you.

The Devil is in the Details

Clinton appeared in her new podcast with her laptop oh so casually propped up on a stack of books. Sharp eyed observers identified one on the props: Erotics, a book of sculptures by artist Lucio Bubacco.

A Little Light Reading for Madam Not-President?

Google Books gushes:

“Lucio Bubacco’s works in glass are unparalleled examples of extraordinary Venetian flame technique – A witty play with the borders of kitsch, and biblical and carnevalesque iconography…Most of the subjects of Lucio Bubacco’s (b. 1957) glass art are provocative and polarizing; at the same time they are sensual and beguiling. In a kind of erotic ‘trance dance’ – Mephistophelian and frequently riotous – nightmarish fabulous creatures and mythological phantasms virtually undulate about each other…Full of wit and irony he thus explores the limits of kitsch without overstepping them. Follow him into a world of carnavalesque orgies, crystalline incubi and erotic fantasies in glass!”

Here is one of the tamer images:

Bubacco: Crystalline Incubi

Everything about Hillary Clinton is calculated, and she doubtless has a team of people facilitating all of her PR efforts. If that book was displayed, you can be sure it was deliberate.

This ruling class Satan endorsement is having the desired effect: creating more converts. The Huffington Post ran this charming article, also in September 2020: “The Death Of Justice Ruth Bader Ginsburg Pushed Me To Join The Satanic Temple.” Says author Jamie Smith:

I am a 40-something attorney and mother who lives in a quiet neighborhood with a yard and a garage full of scooters and soccer balls. I am not the type of person who would normally consider becoming a Satanist, but these are not normal times…

Our democracy has become so fragile that the loss of one of the last guardians of common sense and decency in government less than two months before a pivotal election has put our civil and reproductive rights in danger like never before. And, so, I have turned to Satanism.

Members of the Satanic Temple do not believe in the supernatural or superstition. In the same way that some Unitarians and some Jews do not believe in God, Satanic Temple members do not worship Satan and most are atheists. They are not affiliated in any way with the Church of Satan. Instead, the Satanic Temple uses the devil as a symbol of rebellion.

Just like other faiths, the Satanic Temple has a code that their members believe in deeply and use to guide their lives. These Seven Fundamental Tenets include that “one should strive to act with compassion and empathy toward all creatures in accordance with reason,” that “the struggle for justice is an ongoing and necessary pursuit that should prevail over laws and institutions,” and that “one’s body is inviolable, subject to one’s own will alone.”

Reading through the Seven Tenets, I was struck by how closely they aligned with the unwritten code I had used to try to guide my own life for several years. I realized, happily, that these were my people and that I had been a Satanist for several years without even knowing it. When Justice Ginsburg’s death suddenly made combating the threats to reproductive rights and a government free from religious interference more urgent, I knew it was time to join them and support their conceptual and legal battles.

It’s hard to know in this sorry tale where the mental illness ends and the evil begins.

Conceptual battles are turning into real ones, thanks to these diabolical agitators. Research uncovered that the media-connected thug Jeremiah Elliot, the Denver assassin of a Trump supporter, also has ties to Satan flaunting activities.


Image and research from The Illustrated Primer

These people are toying with something dangerous. Whether they believe in the supernatural or not, they are engaging in the worst impulses of humanity: hatred, selfishness, self-deception, manipulative lies, and reckless pride. Nothing positive can result in this cultivation of the demonic.

There’s nothing new about turning to evil to try and get your own way. That story goes all the way back to Adam and Eve, and dictates much of human history. The contemporary form of this affliction has the extra nasty twist of being insufferably smug about it, too.

In my 2018 book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, I discussed how the improvements of the Modern age were still shaped by humanity’s fallen state:

“Despite the vast economic opportunities that improved the situation for much of the population, there were serious issues relating to the sudden upheaval of the social order. Customary roles and lifestyles were obliterated by the transformations. Poverty and exploitation continued, and even increased in the swelling city populations.

“But humankind, arrogant with increased power, imagined the same kind of empirical approach that reshaped the natural world could work equally as well on the human heart.

“The efficiency of the mechanistic view, once applied across all fields of human endeavor, seemed to promise human life and society must be perfectible. In the Nineteenth century, there was faith that the same kind of progress industrial science achieved could be applied to society. New interpretative social sciences and theories tried to match the accomplishments of technology.

“Modern age optimism assumed while religion and tradition had failed to create a worldly paradise, logic would prevail. The intellect would be humanity’s new savior, and pragmatic philosophy would make heaven on earth.

“The overreach and false equivalence at the heart of this assumption has caused cataclysmic consequences ever since. To think human existence can be operated like an orderly, regimented machine, or to even believe that this is a desirable thing, remains the dehumanizing legacy of the materialistic concepts that gained traction in the 1800s.

“For example, Karl Marx and Friedrich Engels published The Communist Manifesto in 1848. Since that time, an estimated 100 million people have been massacred in the name of their historically necessary “perfected” society.

“It seems all those ordinary lives were just not perfectible enough. The miraculous material progress the Modern age gave us did not make us better people. Instead, it gave us new justifications for evil behavior.

“The corruption and downfall of good intentions is the inevitable consequence of trying to live without God.”

Our elites have chosen to exercise their self-serving demons, and they aren’t even pretending about it any longer. Our culture needs an exorcism.

*************

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

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

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

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

INTERVIEW: Chris Muir’s Shadowbanned Webcomic “Day By Day” Illustrates Free Speech

DAY BY DAY Brings the Pain to Elitist Culture

Winston Churchill’s masterful summary of the totalitarian blockade around captive cultures as an Iron Curtain has received a Twenty-first century revision.

Thanks to Big Tech, the repressive dynamic being enforced now is a Silicon Curtain. It’s no longer limited to Eastern Europe. We have a worldwide will to power attempting to throttle the greatest source of information and communication in history: the internet. Early innovators grew into citadels of monopoly. Being smart with computers gave these would-be overlords conceits of their own omnipotence. Look at that nasty Bill Gates, eager to inject the world’s population with his own special blend of God knows what, in a response to a manufactured Scamdemic he sure seemed to be planning for. With a creepy scheme like that, Gates is one volcano headquarters away from being a James Bond villain-and who knows? He may have one already.

Big Tech has partnered with authoritarian regimes to beta test techniques of tyranny they have every intent of inflicting upon us all. Have no trust in these trusts, which are sorely in need of busting.

But in the meantime, freedom still manages to break through the controls. Officially condemned Wrongthink can still be found online, if you know where to look. That’s why I was so glad to rediscover Day by Day, a daily political webcomic by Chris Muir.

I used to follow Day by Day in my early days of internet political obsessing in the early 2000s. It was the glory days of the Blogosphere, before so much of online engagement was squashed into filtered social media silos. The strip was featured on various sites I compulsively visited. DBD’s combination of sharp, insightful commentary and expressive drawing was very compelling.

Day by Day in 2008

Through the years, as my browsing habits changed, I lost touch with comic. But when I recently rediscovered it, I observed it had undergone an upgrade. The Alinsky-style weapons of satire and sarcasm directed at leftist tropes was as powerful as ever, but the art was richer, more elaborate.

Muir has great skill at figurative work, especially when depicting lovely ladies. As Muir’s dialogues are often set in intimate domestic situations, he frequently draws his characters nude. Any criticism directed at him for celebrating the female form, coming from cultural thought leaders who promote Cardi B, is rank hypocrisy. To me, Muir’s frank depictions prove his commitment to honestly sharing his free expressions. The salty politics are leavened with some sweet beauty.

Day by Day Bares Arms and More 

Chris Muir is participating in Remodernism, the spirit of liberty which is persisting around the globe, despite the Postmodern establishment’s best efforts to smother it.  As I state in my 2018 book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:

“Remodernism acknowledges artists as individuals responsible for their own actions. Artists have the duty to honestly express the spirit of the age filtered through their unique perspective and skills. Remodern artists use their art to show the enduring triumph of the human spirit over any negative circumstances.

“We must overcome the Postmodern efforts to censor and subvert the culture by suppressing free expression. We don’t need anyone’s approval or permission to create.”

I recently conducted an email interview with Chris Muir, discussing the past, present and future of his creative endeavors.

Question: How did you begin Day by Day? How is it going currently?

Chris Muir: In 1996, I became frustrated at the bias I saw in media-all media. I always had a thing for American history, and to see how warped the presentation of it was in ‘News’ and comics-like Doonesbury and many other syndicated toons-I thought ‘I can do better than this’, and set out to do so. I did practice toons from 1996 to 2002 (unreleased) to see if I could do this as a night job (my day job for 30 years was as an Industrial Design consultant). I also did a single panel/day non-political strip for FL Today called ‘Altered States’ as additional practice to ensure I could meet a daily deadline.

Q: Your draftsmanship is part of what keeps Day by Day so interesting. What’s your artistic background?

CM: I’m self taught, much practice at Photoshop and Illustrator inasmuch as I did renderings of designs for various clients over the years-boats, electronic products, etc. This set me up well for the inevitable time when comics would be all digital.

I was one of the first to do an all digital comic strip, and being versed in Production techniques, I was able to do it all with one person-me! Today there are hundreds of cartoonists and artists who are all digital (Like Deviant Art), though I chose this method primarily because my day job took 80% of my time, and I had to be fast and accurate, as daily strips must be daily without fail. One has to get on readers’ short list of daily reads, especially now (unlike back in 2002 when I launched) because of thousands of content choices. One must become a habit for that reader(s) for they are your income(and shared values).

Q: Were there any notable influences on your art or content?

CM: Richard Corben, Vargas, Milton Caniff, Dean Yeagle, Wallace Wood, Gil Evgren, Bruce Timm.

Q; What’s been your most controversial strip?

CM: I had Hillary in blackface, pandering to the black vote, back in 2003? That was notable back then, but in today’s political climate, Americans don’t debate much with the Left as they have truly gone off the reservation.

Q: When did the censorship begin? Were you surprised, or did you see it coming? How have you been censored?

CM: First Facebook, then Google, around…10 years ago, I think. I was not surprised, saw that coming from the start, having gone through the Cold War with the Left’s Idol, the USSR. I would guess I have been shadow banned to some extent, but inasmuch as I have always decided to be direct to readers, it doesn’t affect me that much. I was lucky to have been a slightly large frog in the Blogosphere Pond when it bloomed, and that set the readership pretty much from there.

Q: What’s your new project?

CM: A SciFi project based on today’s Red vs Blue conflict but set on a different world. www.HolyTera.com should be up November-December this year.

Q: What appeals to you about the science fiction genre?

CM: I suppose the invention of Worlds, what might be, and especially Men and Women-not Xis or Zirs- in such settings.

Q: What do you want your fans to take away from your comics?

CM: A desire to fund me! Well, mostly I aim to be a 15 second read on the day’s political/cultural/MenWomen news in comic format. In today’s attention span deficit era-and I include myself on this-it is a powerful way to entertain and inform in a multiverse of endless online content. So, readers get a summary, in a fun form, of what’s going on.

Q: In this technologically advanced but fragmented age, what future do you see for comics?

CM: A good one, actually-there’s never been a better time for any content provider or artist, as the ‘net delivers for free to unlimited readers-no gateway, editor, middleman, or social justice idiots to drag one back down into the crab bucket. But I would suggest whatever you do, make it constant, for once you lose a reader, you are lost to them in the noise of Many Choices!

Q: How can people find your works?

www.daybydaycartoon.comwww.holytera.com  – or just Google my name! I still seem to be on the first page of results.

*************

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

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 

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

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