EXHIBITIONS: International Stuckism-Quintus Gallery, Watkins Glen, New York

Richard Bledsoe “Petrified Forest” acrylic on canvas 20″ x 24″ 

.

International Stuckism

October 13, 2017 – November 12, 2017, opening reception Friday October 13 

Quintus Gallery 65 Salt Point Rd. Watkins Glen, NY

Featuring artists from the UK, Spain, Greece, Russia, Iran, France, the Czech Republic, Australia, and the United States 

New York artist Ron Throop continues to make things happen. His latest project has been coordinating over thirty artists from around the world to share their visions in the latest display of the global art phenomenon of Stuckism.

The great analyst Carl Jung understood what art does. He stated, “All art intuitively apprehends coming changes in the collective unconsciousness.” Before the rejection of elitist presumption and incompetence became the consuming political topic it is now, in 1999 a group of UK artists started waging the same fight against the corrupt and out of touch establishment art world. The Stuckists were a harbinger of the dynamic which is remaking society. They are the first art movement of the Remodern era.

I’ve had the privilege of hosting a Stuckist exhibit here in Phoenix, with 2014’s International Stuckism: Explorers and Inventors. I’ve also participated in other international shows, like 2015’s Stuckism: Remodernising the Mainstream, University of Kent, Canterbury England.It’s an honor to show with these committed creatives. Stuckist free expression brings connectivity and joy back into a contemporary art world too often stifled by alienation and a sense of unjustified superiority.

Ron Throop sees art as a means for bringing people together. As he explains, “Communion has been one of my artistic goals for as long as I can remember. Expressive painting is a very powerful connector to people. We are an image and story-loving species.” To spread the word he has also assembled a book about the show, “International Stuckist Invitational at Watkins Glen,” available on both Createspace and Amazon.

Michele Bledsoe and I have both contributed to this show. It’s an exciting time, being involved in the renewal of the fundamental human activity of art making. We are very grateful to Ron Throop for his diligence and vision in creating this opportunity that demonstrates the grassroots are global, and growing. 

Michele Bledsoe “Assemblage” acrylic on canvas 7″ x 5″ 

.

Richard Bledsoe “In the Trenches” acrylic on canvas 12″ x 16″ 

 

Advertisements

ARTICLE: Another Big Lie of the Contemporary Art World Revealed

John Latham “Time Base Roller”

Make some effort to try to understand the works, you bumpkins

.

IT’S HARD TO MISINTERPRET SOMETHING WORSE THAN ART CRITIC TABASH KHAN DOES, IN THIS ARTICLE: Fad Magazine’s What’s Wrong With Art? Conceptual Art Is Complicated.

“So why are people put off by conceptual art? Often it’s because the artist or gallery hasn’t taken any steps to explain the concepts behind the work. Most visitors to galleries would happily make some effort to try to understand the works but are often only provided with a convoluted press release that includes a line about the work speaking for itself — when it clearly doesn’t.

“For these reasons many visitors will often not engage with the works and be snootily labelled by art world insiders as ‘not getting it’.”

In case you haven’t followed the stultifying degeneration of the contemporary art scene,  you might not know Conceptual Art has been the Next Big Thing for about 50 years now. In Conceptual Art, the idea is now an “artist” only needs to have an idea. The actual object can be made by someone else, or be an already existing common object put into a new artistic context,  or maybe even not be made at all, but only exist as a documented thought. If a new tangible object is produced, it’s likely been farmed out to anonymous technicians who have actual skills. But it’s the name brand artist who takes the credit and the big money. The lack of actual ability and accomplishment is disguised by lots of pseudo-intellectual academic jargon, designed to obscure rather than illuminate.

Writer Tom Wolfe, in his classic take down of the art world, The Painted Word, had these pretenders pegged back in 1975:

“…there, at last, it was! No more realism, no more representation objects, no more lines, colors, forms, and contours, no more pigments, no more brushstrokes. …Art made its final flight, climbed higher and higher in an ever-decreasing tighter-turning spiral until… it disappeared up its own fundamental aperture…”

Khan gives the game away in his article, but does not seem to realize it:

“After all, the godfather of conceptual art, Marcel Duchamp’s concepts weren’t particularly complex. By placing a urinal in a gallery he was questioning how you define what art is, and whether the artist and the setting give weight to an artwork. Philosophical questions which are still relevant today.”

What Marcel Duchamp did-besides probably stealing the credit for his most infamous work from a mentally ill woman artist– was twist art from a vibrant, visceral experience into an ironic elitist assertion. The date of R. Mutt’s toilet in the gallery was 1917. It’s literally been a hundred years, and the establishment art world is all in on simply creating variations on the same old tired shock tactics.

Conceptual superstar Damien Hirst

This is different because it’s a toilet and a dead animal

Khan nails it when he says Duchamp (or whoever it really was) was not complex. Where he gets it so wrong is assuming that words can be used to justify the inadequate offerings of our corrupted cultural institutions.

Khan obviously believes art needs an enlightened priest caste to transmogrify and translate art for the ignorant peasants. It’s an arrogant assumption very prevalent inside the art world bubble. The Postmodern creative class blames the audience instead of looking at their own failures to communicate and connect.

Art does have a philosophical element to it-but it is so much more than that. And words can never act as a substitute for a visual experience which moves and inspires. Ultimately art is a mysterious, timeless expression that cannot be reduced to language. If we could say it, we wouldn’t have to show it to you.

The art world rebels the Stuckists know the truth. At the core of their principled stand for an art of the people, by the people, for the people, they state a truth we can hold to be self evident:

“Art that has to be in a gallery to be art isn’t art.”

-The Stuckist Manifesto

 

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

An Artist Against the NEA, Part 2: Subsidizing the Rich and the Art of Breaking Windows

Rene Magritte, an artist who understood the correct use of fallacies

.

The hive mind of Washington, DC is all abuzz these days. A big part of their collective angst hovers around the idea that this time the Federal government is expected to produce an actual budget. It will the first one in years. Needless to say, everyone in positions of authority  wants to make sure an allotment of sweet taxpayer honey keeps flowing their way.

Whenever the topic turns to reining in out of control spending, the National Endowment for the Arts comes up. It seems like a reasonable cut to consider, since there are much more urgent situations which need funding. But to culture industry careerists, that’s just crazy talk.

Of course all the organizations who are currently latched onto that particular public teat feel entitled to remain there. Just ask them, they’ll tell you.Or just read some of the hundreds of op-eds that have popped up around the country as a lobbying effort. Most advance the notion that without the bureaucratic benevolence of Uncle Sugar, redistributor of wealth, there would not be a single spark of creativity left in America.

Most of the articles follow the same template. They plead that its a given that arts organizations are poverty stricken, that arts spending boosts the economy, that support is needed while artists produce quality culture enriching works. The NEA is desperately needed for these reasons.

What is the reality? Postmodern art worker types like to pretend there is no such thing as reality, that the world operates based on just what those in power decree. Cultural elitists behave as if their virtue signalling and theorizing acts as a shield against universal truths such as cause and effect. Accountability is something to be deconstructed and explained away. However, there are many questions to ask about the default assumptions of their assertions.

For a different perspective about need, this headline pretty much sums it up: Feds Use Arts Funding to Subsidize Billion-Dollar Nonprofits. The article shares the findings of watchdog group Openthebooks.com, and summarizes their findings about the NEA’s umbrella group: “The National Foundation on the Arts and Humanities issued $20.5 million in grants to ‘asset-rich’ nonprofit groups with assets of $1 billion or more in 2016 alone.”

For instance, Robert Redford’s Sundance Institute has received millions of dollars in grants for their swanky ski town film festival. And what is their estimated annual revenue from the event? $37 million.

Robert Redford: Like a Rhinestone Rent-Seeker

.

New York City’s Metropolitan Museum of Art is probably the top example. Since 2009 they have been awarded $1.22 million in grants and contracts from the NFA-H. And what are the Metropolitian’s assets estimated to be? Four billion dollars. That is billion with a B. There are other examples of the payola changing hands in the full article.

The Met: 4 Billion is not enough, they need handouts

.

Why is taxpayer money being funneled to organizations that could easily be self-sustaining? Observation suggests it’s all part of the perks of the New Aristocracy of the Well Connected. It’s one of the ways the privileged class flatter each other, generously  passing out other people’s money. Would these powerhouse entities cease functioning without receiving kickbacks from the public treasury?

Of course not all arts organizations are stuffed with money like those insider superstars. What about the more local community efforts? How will artists be able to exist without qualifying for subsidies?

The pitfalls of those gambits are covered well in an insightful article from PJ Media’s John Ellis: The National Endowment for the Arts is Bad for Artists and Should be Defunded. He states:

“…It’s way past time to defund and shutter the National Endowment for the Arts.

“From the organization’s website, ‘The National Endowment for the Arts is an independent federal agency that funds, promotes, and strengthens the creative capacity of our communities by providing all Americans with diverse opportunities for arts participation.’

“That mission statement prompts a few questions. (Well, the first one isn’t so much a question as an eye-rolling musing.): 1. Yeah, it’s easy to fund things with other people’s money, NEA. 2. How does creating a false market for art promote and strengthen creative capacity? 3. All Americans? Really, NEA? Are you sure that ‘all Americans’ have the requisite skills to participate in the arts?”

Ellis addresses the fallacies at the heart of the economic stimulation and quality results outcome arguments by referring to observations about human nature, and a well known flaw in logic.

“The first question/eye-rolling musing is countered by artists and those who hold the arts community’s purse strings that arts organizations provide an economic engine to communities (by the way, I could write a whole other article about the absurd, silly, politics that I saw first hand while I worked directly for a specific arts funding organization—and by ‘funding,’ of course, I mean that they took taxpayers dollars and with a kindergartener level of pettiness disbursed that stolen taxed money amongst their friends). The NEA and their supporters will trot out research about how many dollars are added to local economies due to things like theatres, symphonies, and museums. Of course, as almost every person with at least half a semester of Economics under their belt is screaming, the NEA’s argument embraces the broken window fallacy.

“The economic stimulus felt and supposedly generated by the arts community comes at the expense of other markets. Chances are, the tax dollars given to arts organizations would have been more effectively used elsewhere to benefit local economies. All that money pumped into the local economy by arts organizations would have been pumped into the economy anyway. The taxpayers would have decided which markets to support. And those markets would’ve naturally grown, strengthened, and added jobs and wealth to the economy. The National Endowment for the Arts model artificially props up mostly unwanted markets by using tax dollars that get funneled through inefficient and wasteful bureaucracies.

“Segueing into the second question, artificially propping up an unwanted market does not benefit the arts. It does benefit the people who work in the NEA office and the many local organizations that help funnel taxpayers’ money to arts organizations, though. What it does to the arts is create a marketplace that supports bad art. If you don’t believe me, buy tickets to your local community theatre’s production of Seussical the Musical. Besides the money you spent on the ticket, your tax dollars helped pay for that crap. In other words, even if you don’t buy a ticket, your hard-earned money is still being used to stoke the egos and fill the free time of wanna-be actors and directors.”

You oughta be thankful, a whole heaping lot. For the people and places you’re lucky you’re not.

Ellis raises very valid concerns about what exactly is coming out as the result of these appropriated funds.

Now personally, I’m an old punk rocker. Punk’s creeds of individuality, distrust of authority, and sincere belief in the transformative power of participating in your own culture are ideas as American as baseball.  I learned early to value passionate intensity in art, which can lead to less than polished accomplishments. I’m inspired by all sorts of creative expression by unconventionally talented individuals. My paintings tend to be dark and strange.

Richard Bledsoe “The Collective” acrylic on canvas 30″ x 30″

.

My music collection is filled with albums that could strike terror into lots of people.

Face up to the Butthole Surfers

.

In my time I’ve attended DIY art and music happenings in places ranging from bowling alleys to Chinese restaurants, from student living rooms to trailers in isolated desert communities. I’ve organized many events myself, looking to give artists a chance to share their creativity. A key trait linking all of these shows is the Y in DIY: do it yourself. Make it happen, with none of the strings that come attached from being reduced to a supplicant for crumbs from the tables of the powerful. If the effort is genuine, it will find its audience.

The hey-kids-lets-put-on-a-show exuberance that drives “amateur” dedication to the arts is at the core of the art movement Remodernism, This grassroots renewal of our culture is rising to destroy the elitist mind games of Postmodernism.The NEA is doing nothing but sustaining the current corrupted model, where to be deemed worthy you must conform to the establishment’s agenda.

Artists with integrity recognize that far from promoting the arts, a compromised, insular organization like the NEA is actually shackling free expression to their ideological biases. The true future of the arts is going to be determined by those who do not submit their productions for official approval. Art is about so much more than acting as a cog in the crony combine.

PERFORMANCE: Elites Exploit Shakespeare with an Orwellian Distortion

Great Caesar’s Ghost!

.

“…I have heard
That guilty creatures sitting at a play
Have, by the very cunning of the scene,
Been struck so to the soul that presently
They have proclaimed their malefactions.
For murder, though it have no tongue, will speak
With most miraculous organ…

The play’s the thing

Wherein I’ll catch the conscience of the king.”
-William Shakespeare
Part of the miraculous achievement of playwright William Shakespeare is his depiction of universal principles through the actions of his particular characters. These enduring insights make it possible to set his plays in practically any time, and any place, despite the specifics of their plots.
We’ve seen the tragedy of Romeo and Juliet performed as song and dance in a New York City ghetto. King Lear enacted as a feudal Japanese epic. Young Orson Welles was hailed as a genius for re-imagining  The Scottish Play as a tale of Caribbean Voodoo. One of my favorite movies frees the gruesome soap opera Titus Andronicus from any particular time at all: the Roman Legions ride motorcycles, the emperor gives speeches on radio, an imperial orgy takes place at a rave. All of these approaches work, because despite the creative interpretations,  the productions retain the integrity of the plays.
.
Shakespeare can go almost anywhere
.
But what if the staging of the story seems to miss the point of original story altogether? Then it’s valid to question the judgement of the company and its directors. Even more troubling is when there is evidence that they are failing not as the result of muddled thinking, but because they are acting with actual malice.
Which brings us to the Public Theater’s reprehensible production of Julius Caesar, featuring an obvious stand-in for President Donald Trump as the titular character. It’s a transparent pandering to the sensibilities of the coastal elitists who were so roundly defeated in the last election. This version is a revelation of their impotent rage and desire for revenge.
.
A Yuge Controversy
.
The problem is, the way the play Julius Caesar unfolds totally contradicts their agenda. Are they really this stupid, or just blind with partisanship?
The whole point of this controversial retelling is to allow a bunch of progressive wankers to indulge in a little piece of assassination porn. And after that bloody money shot, the play still has two acts to go, with no pleasant afterglow for the murderous conspirators. They end up crushed, defeated, and dead; all they accomplished was to usher in the autocratic rule they claimed to be preventing.
This Central Park show would save a lot of time for everyone if they just jumped right to the murder and left off the ending. It would be much more satisfying to the virtue signalling cosmopolitan herd that is their target audience.
Did the Public Theater not actually read the whole play? Do they not know history? Being Leftists, probably they don’t. I don’t remember who said it, but it reminds me of a quote I heard that progressives are the only people you can convince to touch a hot stove twice. They have great faith in their pseudo-religion of politics to sever the connections between cause and effect. Ever since the election various forces on the Left seem to be trying to psyche themselves up for some kind of terrible action. The rhetoric and the violence are both escalating. Their extremism will not get them the results they desire, and will destroy them as well. That is what Shakespeare unequivocally shows us.
I do find it interesting they selected dead white cis-gendered male Shakespeare as the vessel for their fury. What, weren’t there any plays available by a woke, gender fluid writer from an oppressed group?
And yet, despite the fundamental betrayal of Shakespeare’s conclusions, and the horrible hatred on display towards Trump and his voters, the establishment remains largely supportive of the production. Global corporations like Time Warner stand by their funding choices, despite the public outcries and controversy. What gives?
To understand why the elites are being so rigid and unresponsive to such obvious provocations, it’s important to look at the works of another insightful English writer. George Orwell pegged the motivation here, in his frighteningly accurate book 1984. Orwell noted:
“The essence of oligarchical rule is not father-to-son inheritance, but the persistence of a certain world view and a certain way of life, imposed by the dead upon the living. A ruling group is a ruling group so long as it can nominate its successors…all the beliefs, habits, tastes, emotions, mental attitudes that characterize our time are really designed to sustain the mystique of the Party and prevent the true nature of present day society from being perceived.”
The election of 2016 was a direct assault by the people on the entrenched forces of the establishment. It’s probably the first time in a very long time in America where the elites were not able to manipulate the outcome within the parameters of their carefully managed illusions of choice. Like Orwell described, they’ve been able to stick to their Narrative script for decades now, and channel all planning and development through their agenda. They have been the gatekeepers, and for any advancement you must play by their rules.
When the first real challenger to this dominance arises, note their ultimate reaction: calls to murder anyone who will not submit to their status quo. To get the message out, they are twisting art into a blatant threat. However, such is the competence of our would-be rulers they overlook the clear conclusions of the work they are tainting with their hyper-partisan antics. We really need a better word than “elites” to describe these self-serving buffoons.
Such over the top histrionics enacted by our educated classes can be seen as a dangerous omen. Just like ancient Rome, the decadence and corruption of our ruling classes could lead to national disaster. One of the mightiest civilizations ever known was overrun by primitive invading hordes.
Will that be our fate, ruin due to governing class misrule? Perhaps. However, I see a different dynamic opening up.
On June 16, 2017, the Public Theater performance of Julius Caesar was interrupted. Two brave citizens struck right at this presumptive heart of cosmopolitan superiority, calling it and its patrons out as the fascists they are. Expect more like this, as the tactics of Alinsky are turned against the minions of the budding totalitarian state (EDIT June 19: as predicted, there were further disruptions. Two of them).
I always say in America, we are our own barbarians. Our culture is collapsing, but really, it’s not our culture. For decades we have been living in a Matrix-like alternative reality, the insidious slow boil of Cultural Marxism. That is what is showing its exhaustion and strain, and resorting to intimidation to try to artificially extend its existence: the long march Leftism that has infiltrated and denigrated our institutions.
The conspiracy of Postmodernism is dead. The Deplorables are coming to overthrow this failed system with the values that made the United States great in the first place.
Change starts in the arts. Watch this blog for more developments of this joyous insurgency.
Welcome to Remodern America.
.
Richard Bledsoe “Globe of the Apes” acrylic on canvas 20″ x 16″
(My tongue-in-cheek take on the infinite monkey theorem
 Edit: Welcome Instapundit readers! Please visit other posts for more commentary on the state of the arts.

ARTICLE: The Death of University Art Programs, Part 3: Ignorance as a Method of Critique

Professor Walter Gaudnek: He recommended an anatomically correct, if not politically correct, addition

.

“You should just paint a vagina on it, it would be much better,” Walter Gaudnek, the professor, is accused of telling an undergraduate last semester. “You can’t paint the Virgin Mary like this, she would be fucking pissed,” he added, according to a letter of instruction placed in his personnel file and provided to Inside Higher Ed via an open-records request. News of the letter was originally reported by The Orlando Sentinel.

-LINK to the ARTICLE: Critique vs. Harassment by Colleen Flaherty

.

So I don’t know how this guy beat the normal witch hunt that gets whipped up every time someone offends a special snowflake student with a questionable comment. Professor Gaudneck is getting off light, with a slap on the wrist it seems. Perhaps it has something to do with the bigotry of low expectations for university arts programs. In the article another art professor comments as far as standards go, “art is ‘a low-coherency field in which experts routinely disagree about even foundational principles…’”

With colleagues like that, who needs enemies? Low coherency indeed.

Perhaps there is some anti-Christian bias working in his favor here. Without seeing the student work in question, it’s hard to know the context of his criticism. If the thrust of the painting was a sincere religious effort, then of course the Academy would support deriding it. Who cares if the backwards Jesus people get offended? They are an approved target in the crypto-Marxist hellholes our colleges have become.

Gaudeck seems a pretty unremarkable establishment Post Modern artist, appropriating images from Classical artworks and redoing them as crude coloring book illustrations. He also seems to have an affinity for painting Hitler.

Walter Gaudnek: Again with the Hitler

Reading about this strange little controversy reminded me of my college art school experiences, and also filled me with dread. Back in the 1990s I experienced the decaying practices of upper level art education. I can only imagine what the bullying identity politics and virtue signalling of Progressives have turned university art programs into for today’s wishy washy Millennials. From what I have encountered, sophistry has completely devoured the credentialed art world, and inside that bubble, specious double talk stands in for artistic accomplishment.

I saw the evidence this was coming during my student days. In retrospect I can see the pattern. The older professors, trained under the more rigorous standards of an earlier era, tended to talk less, hanging back while we students engaged with our work, and only stepping in with technical pointers and observations as needed. It was some of the younger teachers, the adjuncts and the graduate students, who just wouldn’t shut up.

Instead of focusing on studio experience, the favored practice of this newer generation of instructors was to assign projects as homework, to be brought into the classroom for the grim slog of the never ending critique.

So many of my classes ended up falling into this dynamic. Imagine a group of more-or-less introverted teens and twentysomethings. These are visually oriented as opposed to verbally oriented people: aspiring artists. Because of their youth and lack of training, they are profoundly ignorant of solid intellectual concepts and analytical processes. This is not an insult, merely an acknowledgement of their level of maturity and education. They’ve come to a university to try to improve these deficiencies.

But ultimately it’s a bunch of inexperienced students, who are very engaged and passionate about making things-which happens to be very different than talking fluently about making things. And yet the expectation and the emphasis being placed by the teachers was on words, words, and more words.

These types of classes were very repetitive. Projects were usually not too structured, we were just expected have work to present in class. We’d bring in our pieces, pin them to the wall or set them up on easels, and sit in a ragged semi-circle to contemplate them. Then the speechifying would begin.

The critique model was very different than the group critiques I had taken part in during my beginning art classes. Back then the emphasis had been clear cut discussions of craftsmanship in regards to specific assignments. But now, what little guidance we received from the instructors of the upper level classes aimed our dialogs into the more rarefied atmosphere of Concepts.

Now this might have been productive if we had actually been led in discussions that allowed us to gain understanding of the meanings, methods, and purposes of art. However, the instructors were not much assistance in making this critique method practical. They were usually right there with us novices as far as the quality of their commentary went. Their blather was only distinguished by a larger vocabulary of buzzwords, a greater working knowledge of art history, and an air of dubious authority.

We knew we were supposed to be engaged in a discussion of the successes or failings of the work presented. But what it came down to was a bunch of mostly inarticulate kids trying desperately to sound smart and insightful about art, a subject which is historically infamous for being difficult to put into words. We sure didn’t know how to go about this, so we’d just throw out whatever and hoped it would connect.

It was usually an awkward and halting free for all. The mood was brittle. We’d take turns; everyone got their moment under the microscope. The discussion would go around the room. We were given the chance to make a brief statement about our own work, and then the rest of the class would comment.

We’d try a little of everything in response to the works we were looking at: offer irrelevant suggestions, go off on tangents, tell meandering anecdotes, make inappropriate confessions, hurl accusations, violate the rules of logic and decency in trying to make some obscure point, complain, change the subject, grand stand. At last the teacher would swoop in with some kind of cynical and pontificating final judgment, and we’d move on to the next victim.

This went on week after week, class after class.

Virginia Commonwealth University prided itself on being a school for so-called advanced art. Abstract, non-objective, and conceptual pieces were in. It became obvious it mostly didn’t matter what caliber of art work you showed up with; as long as you adopted the highfalutin jargon of the academic world to discuss it, it was taken seriously.

Just how to make all this this ill-informed opinionating into something usable was beyond me.

In the blind alleys we were directed into, the criteria being used to evaluate the works seemed on the surface completely arbitrary. But in fact, the more feeble the efforts were, the more opportunities it gave to launch into peripheral diatribes regarding half-baked sociology, aggravated psychology, convoluted technobabble and the like. This was the kind of talk that got these teachers really excited, subtly reinforcing that this was where our attention ought to be focused.

Rewarding certain behaviors encourages more of those types of behaviors. And so most students were dutifully herded into producing slapdash experimental works, and talking about activism, therapy and pedantic minutia, rather than trying to understand if an artwork functioned effectively on its own terms, as art. It was easier to adopt the lofty lecturing tone of the instructors, to curry favor by asserting the approved beliefs and attitudes.

Encouraging attitudes of grievance and victimization, or highlighting incidental matters of process or technique, does not lead to powerful art. But it does lead to the generation of thought police, dependent personality disorder types, and detached technocrats-all useful cogs for the Leftist machine. The indoctrination continues.

I participated in the tedious discussions, but I was always felt we were missing the point. We were not taught about how genuine art is made, or why. We were trained to substitute opaque discourse and tribal signaling for skillful achievement.

These endless deconstructive debates might not have done our art much good, but it was sure setting us up to take part in the approved modes of the establishment art world. They think if they pile enough words together, they can justify anything. However, they are profoundly wrong. Real art is self evident, and does not need to be propped up with a bunch of meaningless art speak.

 

We don’t need more dull, boring, brainless destruction of convention, what we need is not new, but perennial. We need an art that integrates body and soul and recognizes enduring and underlying principles which have sustained wisdom and insight throughout humanity’s history. This is the proper function of tradition.

-The Remodernism Manifesto

Click here for THE DEATH OF UNIVERSITY ARTS PROGRAMS PART 1: ERIC FISCHL

Click here for THE DEATH OF UNIVERSITY ARTS PROGRAMS PART 2: THE CORCORAN COLLAPSE

 

An Artist Against the NEA, Part 1: The Case of Karen Finley

Karen Finley: This is what you get when art and politics mix

.

“All within the state, nothing outside the state, nothing against the state.”

-Benito Mussolini

The wailing commenced as soon as the numbers appeared. After decades of threatening noises from concerned conservatives and fiscal hawks, a Federal government budget was produced that eliminated funding for the National Endowment for the Arts (NEA).

As an American artist, I think this is a wonderful development, long overdue.

Defenders of the NEA make the usual accusations, conflating being anti-government intervention in the arts with being anti-art. They justify the expense by pointing out how little the expenditures are out of a budget now reckoned in trillions. And they make the great leap to define withholding state funding of the arts as censorship. All of these assertions dodge accountability for results. How has the NEA improved the artistic life of America?

The NEA was the creation of the corrupt President Lydon Johnson in 1965. One quick measure of the program’s success is whether the visual arts are in better condition now than they were then.

On the contrary, contemporary art is undergoing a crisis of relevance, with hardly any interest and engagement from the public. I would suggest it’s the top-down direction of arts development encouraged by the NEA and its fellow traveler, grant-giving foundations which have helped cause this great alienation. Far from encouraging a vital, thriving culture in the United States, the handout and non-profit mentality is propping up a sick and decaying model of art as an elitist virtue signalling endeavor.

Make no mistake, the cultural institutions supported by such programs hold the values and founding principles of America in contempt. It’s key for acceptance. The long march was so successful that the entry to the establishment now requires allegiance with globalism, Post Modern relativism, and Cultural Marxist deconstruction. It’s the partisans of these ideologies that get the funding and support.

The art world has been warped by the priorities of the subsidizers. If you want their checks, better get on board with their agendas. Leftists have to taint everything with their politics, their own petty little version of God, and their fantasy of the all powerful state as a benefit dispensing Utopia. There’s no way I want anyone subject to such delusions in charge of recognizing artistic achievement.

Many years ago, I had my own special encounter with a NEA star, a typical example of what elitist culture has to offer.

She’s nothing but a historical footnote now, but in the early 1990s performer Karen Finley was big news. She was one of the so-called NEA Four. These controversial artists were up for the federal agency National Endowment for the Arts grants, and came under intense political criticism. The artists had their grants vetoed, although they eventually won a court case about it, and got paid.

However, as a result of the firestorm the NEA ultimately stopped funding individual artists. At least Finley can take credit for helping end that particular abuse of tax payer resources. But at the time I encountered her all the legal maneuverings were still in flux. When she came to speak in Richmond, at Virginia Commonwealth University’s  sculpture building, Finley was still notorious as a casualty of the Culture War.

Finley is a performance artist. Her claim to fame was hooting obscenities while smearing her naked body with yams. I wish this was a joke or an exaggeration, but it isn’t. Of course it was all about gender roles and social critique and whatnot, so that made it Serious Art.

We students didn’t know what to expect. Would we be spattered with tubers? Should we wear raincoats like we were going to see a Gallagher routine? Anticipation ran high.

As it turns out Finley kept her clothes on, and no vegetables were applied anywhere unusual. I suppose a group of mere students didn’t warrant the full Karen Finley experience.

She addressed the standing crowd gathered around her from a podium. I can’t tell you anything she actually said, as nothing she said was memorable. But we weren’t there for an insightful or intelligent lecture, we were there for a Serious Art Performance. And after her remarks, still standing behind her podium, Finley let us have it.

A Serious Art Performance, to Karen Finley, apparently meant yodeling, rolling her eyes and whipping her head around for a couple of minutes.

It was an annoying and mannered display. I felt the burning sensation of folly receiving the institutional stamp of approval. If that was art, then I’ve seen plenty of schizophrenic meth addicts hanging around convenience stores dumpsters that must be undiscovered geniuses.

Coming from her, it was all so phony. Her actions didn’t seem passionate or intense at all. It was clearly a ploy, a unconvincing simulation of being in a shamanistic frenzy.

My problem with Karen Finley’s art wasn’t because it was immoral; it was because it was stupid. There wasn’t an issue with obscenity, the issue was the failure to present a genuine and creditable work of art. And this is representative of the cultural experience our Washington elites wanted to throw money at.

As a bit of compensation for the dumb histrionics, Finley did show us a few nude video clips. She apparently liked to strip down in museums and pose next to actual art. That was kind of funny. The University was obviously putting all our student fees to good use, bringing in talent of such caliber.

During her fifteen minutes of fame, Finley got to play cultural martyr. She became a symbol, the fulfillment of the art world’s conceit of itself as an oppressed band of brave rebels.

The fact that what she called her art was a contrived, pathetic display was overlooked in the rush to the barricades. Her stated political agenda trumped any concerns about quality.

Finley has drifted into obscurity now, safely cloistered away  in New York City’s Tisch School of the Arts (annual undergrad tuition over $53,000.00), still trying to spark some interest in her sagging shock art. Museums are willing to throw her an occasional opportunity. In 2014 she did AA one better, and came up with a 13 step program for artists whose “lives have become unmanageable because of art.” Here’s a helpful hint: I wouldn’t blame art for the need to seek attention through grotesque displays.

Finley serves as a nice bit of trivia and nostalgia, a walking wounded veteran of the culture wars. The establishment takes care of its own. What they haven’t been taking care of is our society’s need for real art.

The NEA has failed in its mission. They’ve squandered their credibility. We will be better served by trying to find new ways to express an authentically American culture, one than the bureaucratic ideologues of the NEA never believed in.

.

“It is quite clear to anyone of an uncluttered mental disposition that what is now put forward, quite seriously, as art by the ruling elite, is proof that a seemingly rational development of a body of ideas has gone seriously awry.”

-The Remodernism Manifesto

“I was not expected to be talented.”

Karen Finley

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

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

 

love

Maurizio Cattelan “L.O.V.E.” marble, 36′

.

“There are these two young fish swimming along and they happen to meet an older fish swimming the other way, who nods at them and says ‘Morning, boys. How’s the water?’ And the two young fish swim on for a bit, and then eventually one of them looks over at the other and goes ‘What the hell is water?'”

-David Foster Wallace, Postmodern novelist

.

The quote above does a good job converting the rhetorical question “Does a fish know it is is wet?” into a lightly amusing anecdote, a brief fable which delivers its twist ending of wisdom as if it were the punchline for a joke. What’s not so funny is the truth that the story demonstrates, and its implications for the state of our civilization today.

To understand the crisis we find ourselves in, it’s instructive to look at the cultural assumptions and preferences of our so-called ruling classes. Their presumptions can be tracked based on the visual art they collude to promote and subsidize. The contemporary art market is another weapon in their arsenal, a way they can inflict their will on society in the form of punishment, disorder, degradation, divisiveness, and heavy handed instruction.

In the recent past George Orwell was able to advance an accurate definition: “Liberal: a power worshipper without power.” But what happened in the meantime was the forces of liberalism/progressivism/Marxism/whatever-they’re-calling-themselves-now-ism managed to drag the cultural focus onto favorable terrain for themselves. Our would-be masters have woven a make-believe world where their particular skill sets dominate; for decades their influence has metastasized throughout our institutions. Art just happens to be a field where it’s easy to see the damage they’ve caused. We are enmeshed in the Matrix-like reign of a toxic philosophy which can referred to by the ambiguous term Postmodernism.

It seems so simple, just a description for what happened after the Modern age. Even though many people still refer to any recent baffling example of artistic excess as Modern art, the underlying principles that made art (and by extension our culture) Modern have been dead since the 1960s. Postmodernist thought started in academia, but has since bled out so its dogma now dominates our politics, media, and especially the arts.

kruger

Barbara Kruger “Belief & Doubt” installation, The Hirshhorn Gallery, Washington D.C.

.

I’ve written before on how elitists push this ideology because it makes an effective tool of oppression. To be Postmodern is to be relativistic, cynical, narcissistic, and conformist. For those who might question such an interpretation, we are fortunate to have a document found posthumously among the papers of one of the leading advocates of this world view,  French writer Jacques Derrida (July 15, 1930 – October 9, 2004). Hugely influential amongst those susceptible to such pedantic banter, he pretty much summed up his accomplishments with this quote: “I’m no good for anything except taking the world apart and putting it together again (and I manage the latter less and less frequently).”

Derrida left behind a statement that bluntly summarizes the intentions of Postmodernism. I would suggest these days his ideas are like the water that we fish are ignorant of; propaganda so widely disbursed and unquestioned it’s invisible to us, even as we move through it, and are carried along by its flow.

Here is Derrida’s manifesto of Postmodernism: read it, and weep. Afterwards I give my thoughts on some of its precepts, and how I see us getting out of this mess.

Manifeste

1. The art of the past is past. What was true of art yesterday is false today.

2. The Postmodern art of today is defined and determined, not by artists, but by a new generation of curators, philosophers and intellectuals ignorant of the past and able to ignore it.

3. Postmodernism is a political undertaking, Marxist and Freudian.

4. Postmodernism is a new cultural condition.

5. Postmodernism is democratic and allied to popular culture.

6. Postmodernism denies the possibility of High Art.

7. Postmodernism deconstructs works of High Art to undermine them.

8. Postmodernism is subversive, seditiously resembling the precedents it mimics.

9. Postmodern art is pastiche, parody, irony, ironic conflict and paradox.

10. Postmodern art is self-consciously shallow, stylistically hybrid, ambiguous, provocative and endlessly repeatable.

11. Postmodern art is anti-elitist, but must protect its own elitism.

12. To the Postmodernist every work of art is a text, even if it employs no words and has no title, to be curatorially interpreted. Art cannot exist before it is interpreted.

13. Postmodernist interpretation depends on coining new words unknown and unknowable to the masses, on developing a critical jargon of impenetrable profundity, and on a quagmire of theory with which to reinforce endowed significance. Vive le Néologisme!

Long live the new word-ism? No thanks. we’ve had more than enough.

Some comments:

“The art of the past is past. What was true of art yesterday is false today.”

Says who? No one I recognize as any kind of authority.

“The Postmodern art of today is defined and determined, not by artists, but by a new generation of curators, philosophers and intellectuals ignorant of the past and able to ignore it.”

This plays into the Leftist conceit of the New Class: that in the Utopia to come, Some Animals Are More Equal Than Others, and they get to call the shots. It is the dream of every progressive to join this most favored status clique.

To deny history is to deny any accountability for their achievements, any objective measure of their performance. So self-serving.

“Postmodernism is a political undertaking, Marxist and Freudian.”

Of course it is. The culture must be sacrificed to avenge their feelings of envy and inadequacy.

“Postmodernism denies the possibility of High Art.”

They deny it because they lack the means to accomplish it. Sour grapes.

“Postmodern art is self-consciously shallow, stylistically hybrid, ambiguous, provocative and endlessly repeatable.”

Real art is deep enough to support extended contemplation. It makes a definitive presence. Ambiguity is wishy washy compared to evoking enduring Mystery. To provoke is a minor reaction compared to inspiring. There is a magic inherent in the unique object made by human hands, heart, and mind working in conjunction each other.

Post modern art basically fails to actually function as art in every significant way.

“Postmodern art is anti-elitist, but must protect its own elitism.”

Postmodernists attempt to deny judgement, ratings of quality and effectiveness, because their own offerings are so feeble. The elitism they draw upon is the status in the herd, the correct observations of the obligatory declarations of loyalty and subservience to the hive mind, and the opportunity to bask in the reflected glory of their controllers.

“Postmodernist interpretation depends on coining new words unknown and unknowable to the masses, on developing a critical jargon of impenetrable profundity, and on a quagmire of theory with which to reinforce endowed significance…”

Real intelligence actually communicates very clearly and concisely. What the Postmodernist suggests is like mumbling to hide the fact you don’t know the answers. This world of sophistry and distraction is crumbling. The elitists are panicking, and attempting to convert their minions into shock troops to protect the status quo hierarchy.

banksy

From Banksy, the anonymous millionaire creator of half-baked editorial cartoons 

The perpetrators of Postmodernism have gone beyond parody with their ridiculous posing, but it’s no longer harmless. From on high, the supplicants of the art world are receiving their orders: the culture must stop changing so the current power brokers remain in charge.

The obedient little fishes synchronize swim down the polluted stream issuing from practically every channel, doing the bidding of smug social media giants, partisan networks, repressive universities, biased newspapers, establishment politicians, empty headed celebrities, corrupt Hollywood, despotic foreign governments, and compromised corporations.

At the same time the little fishes flatter themselves that they are brave rebels, fighting the power. That’s what their masters are telling them that they are.

That disconnect takes an especially determined kind of ignorance.

shia

Exhibit A: Shia Lebeouf, being divisive

There is already a sound artistic philosophy ready to take the place of the defeated dead end of Postmodernism.

Remodernism is a reboot of the culture. It takes the energy, vitality and exuberance of the Modern era and integrates art back into the mainstream. Remodernism reverences art as a means to bring communion and connection. Billy Childish and Charles Thomson created an open source art movement which is in perfect sync with this new era of renewal.

Come on in, the water’s fine.

 “Remodernism discards and replaces Post-Modernism because of its failure to answer or address any important issues of being a human being.”

-Billy Childsh and Charles Thomson, The Remodernist Manifesto

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