This Plague Psychodrama is Peak Postmodernism. Its Retreat Will Lead to Remodern Renewal.

Surviving Beyond Our Time Inside the Beast

“In the Belly” Richard Bledsoe acrylic on canvas 30″ x 40″

art

A virus is ravaging the world. I don’t mean the one hyped in every headline, referred to by whichever accountability-dodging misnomer  we’re supposed to call it this week. That affliction is the ultimate in Chinese take out-as in take out global stability and prosperity.

This other virus is one that sickens the soul. It’s been a raging pandemic for at least 50 years. The institutions we once relied on for societal preservation and advancement were converted into hosts for this ailment long ago, and spread its maladies amongst us all. It also was created by Communists. The disease is Postmodernism, and the current assaults on civilization being done in the name of safety has exposed the festering disorder that is the Postmodern ethos.

A core Postmodern idea is that language shapes reality, and by controlling language the ruling establishment can reshape the universe. This hubris has brought us all to catastrophe.

Postmodernism is the operational system of global elitists. Following the precepts of Postmodernism acts as a surrogate for competence and accomplishment for the New Aristocracy of the Well Connected.  It’s a structure designed not for efficiency, but to filter out any threats to the entitlements of the current governing class.

The establishment status quo had been under assault like never before. I will even go so far to say they were losing. Populist uprisings around the world were gaining traction. We were questioning why such incompetent, selfish hypocrites were in charge, demanding respect they never earned, producing terrible results over and over again.

The Postmodern elites had no valid answer. It was all starting to slip away from them. So they went kamikaze. They determined it was better for them to crash civilization rather than lose the power and prestige they’d seized in the corrupt Postmodern hierarchy. They took advantage of a virus which was potentially a little more dangerous than the usual flu (unleashed on purpose or on accident, who can say?), and created the mother of all false flag operations, the Woo Hoo Floo Hysteria.

In my 2018 book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, I identified 5 factors of how Postmodernism enslaves humans, in their physical, intellectual, emotional, spiritual, and essential capacities. The list I have there is easily adopted to the PSYOP we are living through.

Understanding the Corona Virus Response Through the 5 Factors of Postmodernism 

  1. The Physical: The Embezzled Object

Postmodernism doesn’t create, it steals. It doesn’t encourage growth, it stifles and limits. The Hysteria stole the idea of quarantine (physically isolating the sick) and perverted it to mean locking up everyone. We are all expected to cower in our safe spaces, and let the world rot.

2. The Intellectual: Revolting Relativism

Postmodernists understand objective standards are an obstacle to their desire for unaccountable power. They believe there is no such thing as truth, just whatever it takes at that moment to get their way. So through the Hysteria we’ve been constantly lied to, by the government, the media, academia. A disease that is only a real threat to the elderly or already ill has been recast as an extinction level event.

We are supposed to overlook that the casualty numbers are being inflated by those who may have the virus, but died from other grave preexisting conditions. We are not supposed to understand the sadly high death counts were boosted by Democrat governors ordering sick people into the vulnerable populations of nursing homes, and banning potentially helpful drugs. Still, as facts disprove the wild claims, the Postmodern managerial class just change the subject and move the goalposts, never acknowledging how incredibly wrong they’ve been every step of the way.

3. The Emotional: Unscrupulous Affectation

We are all supposed to act like we are living through a combination of The Stand and the zombie apocalypse. And yet, even though your local businesses are shut down, churches are shuttered in violation of our constitutional rights, and restaurant closures are wrecking the food supply chains, it’s just dandy to go to Walmart and Home Depot. The cognitive dissonance, it burns.

4. The Spiritual: Craven Conformity

It’s become easy to see who’s eager to signal their virtue of following the destructive, fraudulent Postmodern World Order; it’s those useless face masks. There’s some extra cringe on both ends of the spectrum: those who wear them, but crumpled up under their noses or chins, or the dumb asses I see driving by, alone in their cars, face masks in place. The face mask is the 2020 version of the pussy hat, and makes just about as much sense.

5. The Essence: Power

This is what it’s all about, in the end. The power of the establishment to be arbitrary. Vindictive. Asinine. They will force you to submit, and they will punish you for daring to live your life apart from their micromanaging dominance.

ART

Ironically, the Postmodern shutdown could to lead to a great reopening-a new way of life freed from the clutches of the controlling technocrats who’ve ruled us. It’s been my prediction for a long time, although I never would have guessed it would have taken this form.

I’m just a guy who likes to make art. I wanted to share my ideas about art and and how it relates to life, so I started a blog, and wrote a book. The vital human experience of art is beyond anything as tainted as politics. But because of the Postmodern corruption that holds sway over us all, I must communicate on that ideological level, as a citizen. These days, my art could be considered political by not being political.

But art showed me what was coming. It’s like Andrew Breitbart said: “”Politics is downstream from culture.” He was reiterating the wisdom of the 18th century visionary artist William Blake: “Empire follows art, and not vice versa…”

Remodernism is a governing philosophy rising to take the place of the dying dinosaur Postmodernism. These vicious death throes of Postmodernism happening now are only delaying its inevitable collapse.

Remodernism was first codified in 2000 by two English artists, Billy Childish and Charles Thomson. Even though it addresses art, it applies to the cultural zeitgeist as a whole, worldwide. Its time has come. As I state in my book, Remodern America:

 

Billy Childish and Charles Thomson called Remodernism a mandate for a spiritual renaissance in the arts. The manifestation of this renewal is connectivity: using art as a means of connecting with ourselves, each other, and the divine, in a meaningful way. Far from the fragmentation of the Modernists, and the divisiveness of the Postmodernists, Remodernism is the pursuit of unity.

Kinship usually means family connections. Remodernism knows what real religions know: all people are family, and every individual is equally worthy of caring and respect. Like a family, we each have our own interests and talents. Remodernist artists see creative expression as their way to know themselves, to bond with others, and to learn more about life…

The spirit of kinship inspires concern for the well-being of others. Being drawn outside the limitations of our own self-interest allows us to operate in the most effective state anyone can achieve: love…

It’s a mistake to think of love as an emotion. Even though it stirs our deepest feelings, love is more than those feelings. Love is the principle that guides existence. It’s behaving with wisdom. Love instructs that life is a gift and we are all one, so we need to act accordingly.

Modernists were so fixated on what was changing they forgot about what endures. The Postmodernists were too selfish to respond to the promptings of love. This willful lack of love undermined Western civilization, but the lack of love is also what doomed those efforts to redefine humanity. Without the foundation of love, all other factors collapse.

Remodernism invests love back into the culture. Not the phony leftist hippie sloganeering about love that the Baby Boom generation indulged in, but the genuine article. Remodernism sees art as a conduit for shareable moments of beauty, enjoyment, comprehension, and truth. Assembling these elements together approaches a state of grace, which is the ultimate expression of the love bestowed on us by our Creator. We are called to follow His example.

The grace of love is that timeless, indescribable element found in all great artworks, from across all times and all cultures. That element still is accessible today, despite the failure of the establishment art world to provide it.

Graceful love, so long neglected by our arts institutions, is what gives Remodern art the power to bring everyone together. The engagement, curiosity, enthusiasm and kinship Remodernism delivers all originate in love. With this love, Remodernism makes art into an integrated, holistic experience again.

Remodernism is accessible to anyone who aspires to use art to inspire. It even extends to the deluded Postmodernist fools who sought to control us. They need to rejoin with humanity, and to learn their rightful place: standing along with the rest of us, side by side. Love is forgiving.

Remodernism resolves the confusions and heals the breaches imposed on society during Modernism and Postmodernism. It is the triumphant renewal of Western values. After years of destruction, the reconstruction will take extensive efforts, but it will be spectacular.

 

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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

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

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. 

After the Hysteria Dies, What Rough Beast Slouches Towards Bethlehem To Be Born? The Answer Might Surprise You.

Its Hour Come Round at Last:

Richard Bledsoe “The Calendar” acrylic on canvas 30” x 40”

They say great minds think alike.

When I saw the Ace of Spades HQ recently referenced a certain poem by William Butler Yeats as a pithy headline, I recognized we were surfing the same wave of zeitgeist. “The Second Coming” has haunted me for decades, and it’s hard not to recognize its relevance as we navigate the uncharted waters of the Woo Han Hoopla Hysteria.  (FYI I know that place name is misspelled. It’s an attempt to circumvent the censorious Silicon Curtain filters. You know they’re doing it).

The Second Coming by WB Yeats

Turning and turning in the widening gyre

The falcon cannot hear the falconer;

Things fall apart; the centre cannot hold;

Mere anarchy is loosed upon the world,

The blood-dimmed tide is loosed, and everywhere

The ceremony of innocence is drowned;

The best lack all conviction, while the worst

Are full of passionate intensity.

Surely some revelation is at hand;

Surely the Second Coming is at hand.

The Second Coming! Hardly are those words out

When a vast image out of Spiritus Mundi

Troubles my sight: somewhere in sands of the desert

A shape with lion body and the head of a man,

A gaze blank and pitiless as the sun,

Is moving its slow thighs, while all about it

Reel shadows of the indignant desert birds.

The darkness drops again; but now I know

That twenty centuries of stony sleep

Were vexed to nightmare by a rocking cradle,

And what rough beast, its hour come round at last,

Slouches towards Bethlehem to be born?

.

WB Yeats was a Modernist not afraid of mysticism. He wrote this poem 100 years ago, but like all profound works of art, it’s always timely. Ever since Yeats penned those ominous lines, world events have continued to suggest new identities for his monstrous harbinger.

We’ve been under the crushing dominion of one particular evil riddling sphinx for a long time now: the PSYOP tyranny of Postmodernism. For decades, global elitists have gone all in on a society-wide Cultural Marxist system of deceit and manipulation as a means to gather unaccountable power.

These indoctrinated idiots either really believe reality must conform to their word games and enforced opinions, or they know it’s a scam, but expect us to submit to it. We are supposed to not believe our lying eyes, and follow the thought leaders.

Going along with them is what has brought us to this catastrophe.

I believe what we are going through now-a wildly overblown reaction to a suspiciously timed outbreak- is because, after an uninterrupted winning streak for decades, the establishment is losing. This mother of all false flag operations is their desperate means of self-defense.

False flag does not mean this is a hoax. There is a potentially deadly virus out there. Where the false flag comes in is the highly coordinated Deep State over-reaction from governments, the media, academia, and global corporations. Instead of practical measures appropriate to a risky form of the flu, the lockdown freakout inflicted on us seems designed to quash another pandemic which has been growing for years: the populist uprisings against the corrupt and incompetent Postmodern New World Order.

I wouldn’t be surprised if this sudden-and yet-strangely-choreographed meltdown was pre-planned, and was scheduled to occur during a Hillary Clinton presidency. What an opportunity it would have been for that hag and her Chinese partners-in-crime to oversee the permanent dismantling of our constitutional republic! It’s bad enough, even with President Trump doing his best to work around, through, and over all the traitors embedded in our institutions. When Trump talks about an invisible enemy, he’s not just talking about a virus.

But here’s a twist. What if the rough beast slouching our way this time is not the latest oppressor, but is the terrifying prospect of actual freedom?

I foresaw what was coming in my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:

What is the spirit of this age?

History will recognize this as the era the general population of the United States realized the governing class and its connections, far from acting as responsible public servants, had mutated into an elitist ruling class. These elitists decided amongst themselves, due to their superior intellects, credentials, and social status, they deserved to control how everybody else lived their lives. This mission of conquest was camouflaged with egalitarian rhetoric.

In exchange for the burden of managing their inferiors, this New Class exempted themselves from the expectations they imposed on others. Those underlings who supported the ascendancy of these would-be rulers received some special considerations as well, a semiprivileged status—but their greatest reward was to bask in the reflected glory of their masters.

The elitists had a plan, and it almost worked. Over decades, the institutions that sustained American culture have been infiltrated, their missions transformed.

Government, media, education, the arts—the occupying elitists within dedicated all resources towards undermining sustaining Western values, all to better serve the consolidation of unaccountable power. They used their influence over the various means of cultural communication and expression to exert pressure at all levels of society to embrace collectivist goals, distorting the concept of equality.

As part of these maneuvers, art was pushed into 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. We currently call this covert corrosion inflicted on the foundations of Western civilization the Postmodern era.

A small sect usurped disproportionate power over the course of the entire nation. Now the terrible results of the corrupted establishment’s agenda are clear. Under their reign we are less prosperous, less safe, less free.

The elitists ran out of credibility and resources before their work was complete. Now, we, the people, must make sure they run out of time as well. The dominion of these deceitful despots must be demolished throughout the culture, on all fronts. Around the globe challenges are rising against the longstanding world order. The story of the 21st century will be the dismantling of centralized power.

As always, this course of history was prophesied by artists—those who are intuitively aware of the path unfolding ahead. Their works become maps so that others may find the way. The new directives emerging in our culture must be acknowledged. Enduring changes start in the arts.

The entrenched interests are desperate to deny this uprising, but denial won’t stop us. The parasitic Postmodern era is finished, but it won’t go quietly. The vast project of reconstruction will commence as we dislodge the failed status quo.

What is the spirit of this age?

This is an era of joyous insurgency and new beginnings.

Welcome to Remodern America.

Postmodernism started off by redefining art into anti-art. It’s now spread. Like a virus, Postmodernism converted every institution it infested into a factory for producing more of the Postmodern disease. Postmodernism makes every worthy cause betray its rightful mission. Remodernism is the correction of this treachery.

Remodernism as a movement was first codified in 1999 by two English artists, Charles Thomson and Billy Childish. Remodernism is the return of wisdom as a governing philosophy. It respects the general audience, and their capacities to have profound experiences.

Remodernists understand art is for everyone. We can all be stirred by beauty, moved by emotional expressions, and gratified by the experience of truth. Western civilization used to understand how art provided those uplifting states, and with Remodernism, it will do it again.

When we come out of this manufactured crisis, there will be a mighty reckoning to do. It’s been very clarifying.

Remodernism is the cure for the Postmodern disease which practically ended us all.

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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a paintingPlease send any inquiries to info@remodernamerica.com. Thank you!

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

Imagine Yoko Ono Was An Artist

I Wonder If You Can 

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

Art

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

Art Yoko Ont

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

Art Yoko Ono

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

 

Rene Magritte, Le Jeu de Mourre

This is an Apple, Not a Banana

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

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

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

Yoko Ono Art

Yoko Ono Art

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

Yoko Ono Art

Yoko Ono Art

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

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

Cut

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

Yoko Ono Art 

 

Object in Three Parts – Revolution

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

Yoko Ono Art

Painting to Hammer a Nail

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

Yoko Ono Art 

Yoko Ono Art 

Bag Piece

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

Yoko Ono Art

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

Yoko Ono Art

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

Yoko Ono Art

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

Yoko Ono Art 

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

 

 

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

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

 

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

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

Postmodern art is a tool of oppression.

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

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

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

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

To the Light

Ono She’s at It Again 

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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a paintingPlease send any inquiries to info@remodernamerica.com. Thank you!

THE AWFUL ARTIST BEHIND THE $120,000 BANANA

 

 

Tally This Banana

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

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

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

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

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

These days, what else do you need?

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

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

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

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

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

Like Pope John Paul II, crushed under a meteor.

Maurizio Cattelan, The Ninth Hour 

.

Or school boy Hitler at prayer:

Maurizio Cattelan, Him 

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

Maurizio Cattelan, Love

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

.-

Maurizio Cattelan, Petra

.

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

 

Maurizio Cattelan, America

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

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

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

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

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

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

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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a paintingPlease send any inquiries to info@remodernamerica.com. Thank you! 

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

The Lighthouse: A Beacon, a Warning

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Most movies fail to achieve the status of art.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Stop, Children, What’s That Sound: Midsommar 

 

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

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The Success of Joker is No Laughing Matter 

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

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

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

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

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

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

The Lighthouse

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

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

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

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

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

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

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

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

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

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

 

Remodernism reboots the culture. Remodernism is not a style of art, it is a form of motivation. We express the universal language of inspired humanity. We do not imitate what came before. We find in ourselves the same divine essence of love and excitement which has inspired masterpieces throughout history. We are strengthened by drawing on traditions thousands of years old. We integrate the bold, visionary efforts of the Modern era into a holistic, meaningful expression of contemporary life. Remodernism seeks a humble maturity which heals the fragmentation and contradictions of Modernism, and obliterates the narcissistic lies of Postmodernism. Remoderism is disruptive innovation applied to the moribund art world.

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

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

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

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

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

The Lighthouse: Yo Ho Ho 

 

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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a paintingPlease send any inquiries to info@remodernamerica.com. Thank you! 

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!