STUDIO: A New Painting in Progress, Part 2: In the Belly

In the Belly

Evolving Imagery

I am currently at work on my latest large scale piece-large for me being in this case 30″ x 40″. In my previous post, I showed the first crude underpainting for a piece that I will be working on for the next several months.

These images show the progression.

Even though my paintings originate in inspirational visions, where I am shown what the imagery needs to be, it’s up to me to make that image appear through painterly technique. It’s hard to translate the subtlety of thought into tangible forms. But that is the fun and challenge of being an intuitive painter.

I don’t make preparatory drawings to figure out compositions. I paint the picture directly out onto the canvas. My process involves lots of editings and revisions along the way.

Having Jonah in there is vital to this work. This is how I put him in initially.  The painting has changed greatly from these early stages.

 

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

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

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

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

Watch this space for further updates!

 

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STUDIO: A New Painting in Progress, Part 1: In the Belly

 

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

 

Art is for Morons at AoSHQ 

Art

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The elites had a great vision for America. They would wreck our culture and trash our heritage, and be the managers over our decline. They’ve been implementing their program for at least 100 years. However, in their long march through the institutions, they overlooked part of what makes America unique. We aren’t compelled to follow our “leaders.” We definitely aren’t going to follow them off a cliff.

Many compare the United States to earlier empires that declined and fell. The familiar pattern is happening here and now. Elitist mismanagement and ennui is encouraging social breakdowns. History demonstrates it’s only a matter of time until the barbarians overrun their dominion. The existing society will be overthrown by primitives from outside the complex system of assumptions and niceties cherished by the ruling class.

The great news is, here in the United States, we are our own barbarians. Understand the current upper echelons are predominately not representative of the American way of life. They’ve been compromised by Postmodern delusions about their own omnipotence, and it’s ruined them. They should have studied Classical literature. It clearly warns about the perils of hubris.

To these upper crust pretenders, nothing is more backwards and uncivilized than their own fellow citizens, who cling to such notions as God, guns, and honor. Yet these traditional Americans are exactly the people who are best positioned to put an end to the current elitist shenanigans for good. Far from not understanding their Postmodern poses, we understand them all too well.

It will be traditional Americans who rise up to clear away the rubble of the establishment’s failures and decadence. America has an amazing record of achievement, when we put our values into action. We have the wisdom which Postmodernists thought they were too smart to need.

America isn’t dying. It’s the artificially imposed Postmodern worldview which is disintegrating. Remodern Americans will carry on, better than ever.

 

 

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

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

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

Imagine Yoko Ono Was An Artist

I Wonder If You Can 

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

Art

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

Art Yoko Ont

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

Art Yoko Ono

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

 

Rene Magritte, Le Jeu de Mourre

This is an Apple, Not a Banana

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

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

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

Yoko Ono Art

Yoko Ono Art

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

Yoko Ono Art

Yoko Ono Art

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

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

Cut

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

Yoko Ono Art 

 

Object in Three Parts – Revolution

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

Yoko Ono Art

Painting to Hammer a Nail

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

Yoko Ono Art 

Yoko Ono Art 

Bag Piece

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

Yoko Ono Art

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

Yoko Ono Art

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

Yoko Ono Art

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

Yoko Ono Art 

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

 

 

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

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

 

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

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

Postmodern art is a tool of oppression.

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

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

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

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

To the Light

Ono She’s at It Again 

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

THE AWFUL ARTIST BEHIND THE $120,000 BANANA

 

 

Tally This Banana

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

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

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

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

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

These days, what else do you need?

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

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

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

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

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

Like Pope John Paul II, crushed under a meteor.

Maurizio Cattelan, The Ninth Hour 

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Or school boy Hitler at prayer:

Maurizio Cattelan, Him 

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

Maurizio Cattelan, Love

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

.-

Maurizio Cattelan, Petra

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

 

Maurizio Cattelan, America

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

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

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

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

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

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

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

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

The Lighthouse: A Beacon, a Warning

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Most movies fail to achieve the status of art.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Stop, Children, What’s That Sound: Midsommar 

 

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

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The Success of Joker is No Laughing Matter 

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

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

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

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

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

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

The Lighthouse

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

The Lighthouse: Yo Ho Ho 

 

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

STUDIO: Highlights from my Image Morgue

Inspiring Imagery Fuels the Image Bank in my Mind 

 

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

 

STUDIO: The Image Morgue (May 20, 2016) 

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

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

-Robert Henri

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

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

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

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

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

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

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

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

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

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

  Ancient Olive Tree

 

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

 

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

 

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

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

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

 

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

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

The Climate Change Hoax:

Banksy Contributes Yet Another Piece of Establishment Agitprop 

 

“The Foundation of Empire is Art & Science

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

-William Blake (1757 – 1827)

 

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

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

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

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

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

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

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

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

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

 

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

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

 

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

 

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

 

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