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

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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

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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

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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″

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

Face up to the Butthole Surfers

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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.

STUDIO: A New Painting in Progress, Part 3

“The War You Will Always Have With You” starts to darken

One of the mottoes Michele Bledsoe and I share in the studio is “Darker than you think.” It’s a reminder to push the painting further, to increase the intensity of contrast. The highlights are brighter when interacting with a truly rich darkness which takes a long time to build up.

Here I have begun leading my newest painting into the darkness. First the background, then the body. The initial colors laid down are just a base coat, a foundation to work off of as I create multiple layers of interacting colors.

“Painting is the medium of self-discovery. It engages the person fully with a process of action, emotion, thought and vision, revealing all of these with intimate and unforgiving breadth and detail.”

The Stuckism Manifesto

Earlier Installments:

A New Painting in Progress, Part 1

A New Painting in Progress, Part 2

Starting the Mane

 

 

PERFORMANCE: Elites Exploit Shakespeare with an Orwellian Distortion

Great Caesar’s Ghost!

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“…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.
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Shakespeare can go almost anywhere
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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.
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A Yuge Controversy
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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.
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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.

MEMORIALS: On the Veteran Portraits of George W. Bush

George W. Bush “Sergeant Daniel Casara

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Last March, one morning on the way to work I was fortunate to hear on the radio an interview conducted by Hugh Hewitt. Although he’s often profundly off base on his analysis of events, Hewitt has interesting guests. On this program he was speaking with former President George W. Bush, about a subject I find endlessly fascinating: painting.

George W. Bush’s book of paintings “Portraits of Courage: A Commander in Chief’s Tribute to American Warriors” is a major best seller. It’s currently number one in many of the Art categories on Amazon, a reflection of people’s desire to support our veterans. However, it also reflects a positive response to a surprising development for our retired 43rd President –  his unsuspected creative talents.

Mr. Bush is characteristically humble about his work. He plainly states in the forward of his book he is an amateur: “I’m not sure how the art in this book will hold up to critical eyes. After all, I’m a novice. What I am sure of is that each painting was done with care and respect.”

I always say in real painting there is nowhere for the artist to hide; those reverent emotions towards the veterans the former President depicted are present in his paintings.

It’s an interesting story how Bush came to his art. “I had been an art-agnostic all my life,” he admits. However, as he was leaving office, he became intrigued by the dedication to painting shown by Winston Churchill. Inspired by Churchill’s essay “Painting as a Pastime,” Bush started working with a series of instructors to learn the craft. To his first teacher he stated: “‘Gail, there’s a Rembrandt trapped in this body…Your job is to liberate him.'” He was 66 years old.

The world was surprised in 2013 when hacker Guccifer revealed emails connected to the Bushes had been compromised. Unlike recent leaked Democrat emails, these messages were not full of dirty tricks, backstabbing, and fawning communications from reporters. However, the hacked accounts did expose George Bush paintings, including two sly self portraits in the shower and bath.

bush paintings

Out of the painting closet now, Bush started sharing his new passion openly. He disclosed he had painted pets and landscapes. At the advice of one of his teachers, Bush embarked on a series on world leaders he knew, including his own father:

George W. Bush “The Dalai Lama”

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George W. Bush “Hamid Karzai

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George W. Bush “George H.W. Bush”

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The real focus of Bush’s post-presidency has been supporting wounded veterans.  Through the Bush Center Military Service Initiative, post 9-11 veterans and their families gain assistance transitioning back to civilian life. It was natural Bush’s two great interests came together. “Portraits in Courage” shows paintings of some of the veterans Bush has come to know. Proceeds from the books sales are going to support the Bush Center’s programs.

George W. Bush “Sergeant Major Christopher Self”

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In addition to painting the veterans’ portraits from photographs, Bush tells their stories as well. He describes why they joined the military, how they served, how they were wounded in the line of duty. He then shares the triumphs and challenges each faced during recovery, and how he met them during his presidency and Bush Center events. These stories are not sugar coated; they acknowledge the true difficulties involved. But the overarching theme is inspirational, as the veterans speak of their determination and pride to be part of the United States Military.

There is much discussion about the gap between the experiences of the armed services and civilians. “But that civilian-military divide, I think Portraits of Courage may help bridge that by giving people glimpses into their lives, not just the painting,” Bush says; “… the stories are more important than the paintings.”

A notable example of these differences are attitudes about George W. Bush himself. While the civilian population,  agitated  by a relentlessly hostile media, turned very negative towards Bush during his presidency, he was always well regarded by the troops who served under him. As recently as 2014, 65%  of post 9-11 veterans stated Bush was a good commander in chief.

George W. Bush “Staff Sergeant Jack Schumacher,Sergeant William J. Ganem”  

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Time has been good to the reputation of Bush, perhaps because the current White House occupant is the subject of persistent histrionic Establishment meltdowns. Now partisan media types think it’s okay to make some positive comments about Bush, while still pouring on the typical gallons of bile and venom. Even cultural critic hacks have been cautiously laudatory. “The quality of the art is astonishingly high,” the New Yorker mentions in their column of recycled insults. “An evocative and surprisingly adept artist who has dramatically improved his technique,” The New York Times grudgingly admits during their litany of blame. Fake news CNN headlined their 2014 article that Bush’s paintings show “his softer side.”

Filtering out the ideology, I agree with the critics. As a painter, I recognize the work that went into his paintings, the ongoing series of judgments needed to reimagine the dimensions of life onto a flat canvas. Bush seems to have developed the instinct for applying paint so that it communicates. The works are full of personality, mood, and incorporate real moments of finesse. Other more awkward passages just enhance their expressive power. As noted by the co-founders of both the Stuckism and Remodernism art movements, amateurs willing to take chances, to reveal their own shortcomings, are the ones who push us forward:

The Stuckist is not a career artist but rather an amateur (amare, Latin, to love) who takes risks on the canvas rather than hiding behind ready-made objects (e.g. a dead sheep). The amateur, far from being second to the professional, is at the forefront of experimentation, unencumbered by the need to be seen as infallible. Leaps of human endeavour are made by the intrepid individual, because he/she does not have to protect their status. Unlike the professional, the Stuckist is not afraid to fail.

-Billy Childish and Charles Thomson, The Stuckist Manifesto

In that previously mentioned Hewitt interview, it was exciting to hear former President Bush speak in terms I could relate to as an intuitive artist. It’s worth reviewing some of the words he used that showed me here was a fellow artist, working to coordinate his hand, eye, mind and heart, to share his vision of life and his connections to humanity.

George W. Bush Quotes About Painting

“The thing about painting is you never finish a painting. I mean, there’s always something, at least in my case, there’s always something I could do to improve, and so at some point in time, you had to have the discipline to say I’m moving onto another portrait.”

“A really good artist came to my studio with my instructor, and he said you know, I think you can paint. You ought to try to paint the world leaders with whom you served. And it was such an uplifting statement, because what he was saying was seek new heights. Try something different.”

“First of all, the painting has got a lot of paint on it. And, which I think conveys a sense of confidence in painting. The first ones I painted, the world leaders, it was real tight brush strokes. You know, I was trying to get it exact. And these are much looser. I think it’s a tribute to my instructors, and a tribute to time at easel.”

“…I don’t think the quest to develop a style that you can express yourself as fully as you want ever ends.”

“…painting is ahead of me for sure. It’s one of the great learning experiences, Hugh. It’s, you know, I think about it all the time. When I get back this weekend, I’ll paint. And I’m looking for a new project.”

George W. Bush in the studio

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

PAINTINGS: Climb, Climb

Richard Bledsoe “Climb, Climb” acrylic on canvas 24″ x 30″

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Another 2017 painting. This one was begun long ago; the vision that produced this one was triggered by the lyrics of a Meat Puppets song, “Climbing.”

Climb, climb, I always climb
Out of bed in the morning on a mountain made of sand
And I know this doesn’t rhyme
But the clutter on the table has been getting out of hand

The image is not a literal illustration of the lyrics, but I appreciated the sentiment.

Back when I started the drawing came quick. However, piece then joined the works in progress stack of paintings stuck in the corner of the studio, where it lingered.

One of my mantras is there is nothing more inspirational than a deadline. When I was asked to be the featured artist for the exhibit “The Journey” at Desert Springs Community Church’s Call To Art, I knew this painting had to be part of it. Thinking about my own journeys in life got me very excited about finishing this piece.

I often describe painting as a series of interlocking contrasts: light and dark, abrupt passages and gradual passages, color against color. Another element I like to contrast is the naturalistic and the stylized. Here I put a very exaggerated figure into a rather subtle and realistic appearing landscape. Of course it is a green mountainside, which is not expected, but that was the vision I had. At my best I’m just taking dictation.

STUDIO: A New Painting in Progress, Part 1

A Beginning in Yellow

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 I am currently at work on my latest large scale piece-large for me being in this case 36″ x 36″.

I had originally built this stretcher with a different image in mind for it. But life intervened before I got started. New thoughts developed and took on more urgency. The current subject came to me in a vision, as my imagery often does. I changed my mind about what I was going to commit the next several months to working on.

 Right now I don’t have to fulfill any commission. I don’t have create a piece for any particular theme show or call for entries. Being so free to choose out of the many painting ideas I have could be challenging. However, as an intuitive artist, I am provided guidance. I know the right idea to proceed with because it’s the one I keep thinking about. I can’t get out of my mind. I’m going to need to paint it out.

I don’t like the white void of a fresh canvas. It lacks an entry point. I almost always begin a painting by laying down a field of color. In this case, it was several coats of Lemon Yellow acrylic paint, all over.

Then I was ready to draw in the major form of the piece.

A rough sketch to begin, right onto the canvas

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I would never use a projector to translate imagery onto a canvas. It’s an unsavory practice, an unacceptable shortcut. Real art will never arise from a shortcut mentality.

Be a brave artist. Use your own hand, heart, mind and eye. Don’t rely on a machine to make your discoveries for you.

I also don’t work from separately created preparatory drawings, even though I know that’s the classical technique. I dive in and paint it out directly on the canvas. It’s a flexible, forgiving medium. Most of my painting time is spent fixing mistakes and shoring up weak spots. Since I’m working from imagination, this involves lots of staring, and comparing what is happening in the painting to what I can see in my mind.

Recognizing which mistakes to keep is what makes a painting come alive.

Like many of my works, this vision came presented complete with a title. My new painting is called “The War You Will Always Have With You.”

I do enjoy puns.

I feel this work is very much in sync with the spirit of this age, and now was time for it to be made. If I serve as an effective conduit, by the time the piece is finished, its relevance should be apparent to everyone, without me even having to use words to say it. The painting will speak for itself.

I will continue to provide periodic updates as the painting progresses.

STUDIO: The Mirror Test

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Mirror mirror on the wall:

A tool for self critique

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No matter how cleverly you sneak up on a mirror, your reflection always looks you straight in the eye.

-Louis Cyphre, Angel Heart

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The image above is not me; it is my reflection in our bathroom mirror. Michele Bledsoe snapped it while I was contemplating one of my works in progress.

It’s a problematic piece, one I’ve been working on for a long time without resolution. That is why it’s getting the mirror test.

I’ve written before on painting as being a process of seeing and judging, and the various ways I have to tweak the way I ponder on my unfinished paintings so I can see them with fresh eyes. I look at them upside down or sideways; I put them near completed paintings for comparison. Even moving them to different locations, like outside on the front porch, lets me break out of the tunnel vision that can develop while a work is being created.

As an intuitive painter, you have to be own worst critic. Since you are creating a world out of your own unique vision, only you will understand where that world fails to conform to its own principles, where the spell is broken. You must fearlessly identify the flaws and weak spots of the image. All these variations on looking break the limiting habits you fall into while staring for so long at the art being created.

The mirror test involves looking at the image in the mirror, and seeing it all reversed. Michele says it’s a great way to identify drawing issues. I look for ill defined passages, places that lack the dramatic interplay and balance that every good painting distributes across its entire surface.

Just like looking at ourselves, looking at our art in the mirror is a ruthless means for self knowledge.

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“Spirituality is the journey of the soul on earth. Its first principle is a declaration of intent to face the truth. Truth is what it is, regardless of what we want it to be. Being a spiritual artist means addressing unflinchingly our projections, good and bad, the attractive and the grotesque, our strengths as well as our delusions, in order to know ourselves and thereby our true relationship with others and our connection to the divine.”

-The Remodernist Manifesto