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

COMMENTARY: Art and the Heart of Darkness

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Richard Bledsoe “This Man Has Enlarged My Mind” acrylic on canvas 14″ x 11″

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“All great and beautiful work has come of first gazing without shrinking into the darkness.”

-John Ruskin

Darkness exists not only externally as a physical absence of light, but also references the state of mystery that abides inside every person. Part of the task of the artist is to go into that inner darkness and bring its contents to light. To reveal the hidden lets us know ourselves, and each other, better.
Visionary analyst Carl Jung referred to this as the Shadow Aspect of ourselves. Darkness does not necessarily equal evil, but evil is part of the terrain we must navigate in there. There is something in us all that remains primitive and covetous, the old animal nature, snarling over its prey.
In one of my favorite books, Heart of Darkness, Joseph Conrad took his own particular experiences working in the Belgian Congo and translated them into a universal exploration of the corruption of power.
His character of Kurtz was a great man gone wrong. He went into the jungle thinking he would bring enlightenment to the  savages. But like many a Classical playwright could have warned him, overestimation of one’s capacities leads to tragedy.  Hubris made Kurtz into the worst savage of all, a demon god demanding worship and tribute.
I’m very comfortable in my own shadowy depths. I see the dangers of it, but also the wonders contained therein. There is great vitality stored in there, forces beyond my own limited resources. It’s exhilarating.  In the Conrad book a ragged, youthful sailor  gushes about Kurtz, “This man has enlarged  my mind,” ignoring the poles festooned with severed heads of Kurtz’s victims all around him. Carried away with enthusiasm, he has lost all perspective.
But Kurtz himself, who unleashed those great capacities, who tried to live like he was above good and evil, can not avoid acknowledging the consequences of his own choices. He is left murmuring about “The horror” with his dying breaths, a confession of the life he sees flashing before his eyes-an admission of his ultimate failure.
Good intentions are not enough.
The ends do not justify the means.
I am humbled in the presence of the Shadow. I don’t make the mistake of believing its power is my own. I can accept the flaws it shows me I have. And as a artist, I can translate its secrets into a shared experience.
“Spiritual art is not about fairyland. It is about taking hold of the rough texture of life. It is about addressing the shadow and making friends with wild dogs. Spirituality is the awareness that everything in life is for a higher purpose.”

ARTICLE-Outcasts: Post Elitist Art

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Past the Point of No Return: Elitist Art is Dead. What Comes Next?

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In my compulsive reading of the ongoing analysis regarding post election consequences and hysteria, I came across this insightful article (clink on the link to read the whole thing):

TRUMP AND THE RAGE OF THE BRAHMANDARINS, by New Class Traitor

The piece makes an interesting comparison between the power struggles of various factions of American society and the Indian Caste system. I see a similar dynamic at play in the art world, which will result in a whole new field of consequences and hysteria to explore.

India makes for an intriguing parallel for the United States after our decades of divisive establishment politicking. A melting pot no more, we’ve been encouraged to divide ourselves into competing niche interest groups, sorted out by race, class, region, religion, and genders actual and imaginary. In this, we now share much in common with the Indian subcontinent, which packs multitudes of distinct ethnic groups, belief systems, and languages into one technically unified country.

In response to the chaos inherent in so many striving factions, over time India developed a controlling system of social stratification and segregation, the caste system. It is a hierarchy where everyone was assigned their role from birth.

The article from New Class Traitor provides these definitions of the four major caste groupings (called varnas, “colors”) and a notable subset:

From top to bottom, the varnas are:

1.  Brahmins (scholars)

2.  Kshatryas (warriors, rulers, administrators)

3.  Vaishyas (merchants, artisans, and farmers)

4.  Shudras (laborers)

5.  Finally, the Dalit (downtrodden, outcasts — the term “pariah” is considered so offensive it has become “the p-word”) are traditionally considered beneath the varna system altogether, as are other “Scheduled Castes” (a legal term in present-day India, referring to eligibility for affirmative action).

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A schematic of India’s Caste System

Don’t read the “Brahmin” here as actual religious figures. In our context it means our new self-aggrandizing aristocracy of the well-connected: the globalists and their various functionaries, lackeys, and minions.

His article goes on to describe connections between this model and the current American experience:

American society used to be a byword for social mobility (“the American dream”) — but a stratification has set in, and it takes little imagination to identify strata of Dalit, Shudras, and Vaishyas in modern American society. The numerically small subculture of military families could be identified as America’s Kshatryas. So where are the Brahmins? (No, I’m not referring to the old money Boston elite.) And why am I using the portmanteau “Brahmandarins” for our New Class?

In India one was, of course, born into the Brahmin varna, and they actually delegated the messy business of governance to the varna below them. In China’s Middle Kingdom, on the other hand, not only was the scholarly Mandarin caste actually the backbone of governance, but in principle anyone who passed the civil service exams could become a Mandarin.

Originally, these exams were meant to foster a meritocracy. Predictably, over time, they evolved to select for conformity over ability, being more concerned with literary style and knowledge of the classics than with any relevant technical expertise.

Hmm, sounds familiar? Consider America’s “New Class”: academia, journalism, “helping” professions, nonprofits, community organizers, trustafarian artists,… Talent for something immediately verifiable (be it playing the piano, designing an airplane, or buying-and-selling,… ) or a track record of tangible achievements are much less important than credentials — degrees from the right places, praise from the right press organs…[emphasis mine]

The New Class should be more like the Mandarins rather than the Brahmins, as in theory (and to some degree in practice) 1st-generation membership is open to people of all backgrounds…

In practice, however, this class is highly endogamous, and its children have an inside track on similar career paths. (Charles Murray’s “Coming Apart” made this case to a fare-thee-well.) Thus one finds 2nd and 3rd generation New Class members, whose outlooks on life tend to be much more insular and collectively self-centered than that of their 1st-generation peers. (It is important not to over-generalize about one’s fellow human beings: some of the fiercest fellow ‘renegades’ I know were to the manor born.) In that respect then, the New Class does resemble the Brahmins. Hence my portmanteau “Brahmandarins”.

He concludes with our last election acting as a kind of coup against the entitled “Brahmandarin” class which has dominated the establishment for decades now:

Fast-forward to the present. In the last several Presidential elections, Brahmandarin D candidates (Obama, Hillary) were pitted against Kshatriyas (McCain) or Vaishyas (Romney, Trump). Unsurprisingly, Brahmandarin presidents tend to appoint cabinet and senior aides from among the Brahmandarin caste, while Trump’s appointments came almost exclusively from the Vaishyas (Exxon CEO Tillerson for State, various other execs), and Kshatriyas (Mattis, Flynn, Kelly). It doesn’t matter that most of these people have real-world achievements to their names than a Robbie Mook type can only dream of: they are “ignorant” (read: insufficiently subservient to New Class shibboleths), “hate-filled”, etc. — All short-hand for “not one of us”.

For those same people who keep on prating about how open they are to foreign cultures (the more foreign, the better to “virtue-signal”) are completely unable to fathom the mindset of their compatriots of a different caste: they might as well come from a different planet as from a different country.

In the last election, with the smug “basket of deplorables” wisecrack, the anointed figurehead of the priestly/scholarly clique let the mask slip, and revealed the very unAmerican conceit that those who dared disagree with the establishment agenda were irredeemable Outcastes. The voters returned their verdict on that attitude.

“It isn’t so much that liberals are ignorant. It’s just that they know so many things that aren’t so.”

-Ronald Reagan

Judging from the terrible real world results of their chronic mismanagement, our governing, self-anointed “smartest people in the room” have turned out to not be smart at all. Their system of “meritocracy”  has been exposed as a racket, serving up only cronyism and a lack of accountability.

If these people had been truly educated, they would have learned from the ancient Greeks that hubris leads to nemesis. However, it’s hard to conceive of a greater collection of ignorance and nonsense than what passes for the coursework of contemporary academia, and so all the supposed best, brightest and most powerful were incapable of adapting to a changing world.

The assumption is the art world is about to rally, and put a stop this shocking turn of events. “What Does It Mean To Be An Artist In the Time Of Trump?” huffs the Huffington Post. Based on the interviews within, nothing new. These insider artists intend to offer the same old cryptoMarxist litany that has kept our contemporary cultural institutions unpleasant and irrelevant for at least 50 years. The luvvies of the establishment art markets declare they will bring you their rage. They will keep having futile tantrums launched from unstable platforms of identity politics, make lots of threats to keep subverting and questioning and denouncing, and use even more tactical buzzwords describing their various chew toy -Isms.

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Fight the Power!

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What these artists don’t see is they are defending the shabby shadows from a dead dinosaur of a political philosophy, one that has caused a century of suffering and oppression. They’ve been so well indoctrinated they don’t even realize how ineffectual they are. I won’t dignify their cheap efforts at propaganda and third rate activism with the meaningful status of art.

All art intuitively apprehends coming changes in the collective unconsciousness.

-Carl Jung

War was already declared on the excesses of establishment art, at the turn of the current century. And not only the ideological, virtue signalling style of art, but also the self-absorbed, alienating products of the Ivory Tower approach, status symbol art made to cater to the expectations of elitist curators, trophy hunting collectors, and other art snobs.

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Miro, Miro on the wall…

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In 1999, before there were recognizable populist movements aimed at stripping authority away from the incompetent and arrogant ruling political classes, there was a revolution in art. In England, a grassroots group of painters who called themselves the Stuckists launched attacks on the powerful but corrupted arts institutions of the UK. They blew apart the facade that the art world did anything but serve the agenda of the establishment. “Brit Art, in being sponsored by Saachis, main stream conservatism and the Labour government, makes a mockery of its claim to be subversive or avant-garde,” their manifesto accurately observed.

In their later masterful overview of the coming changes in collective unconsciousness, The Remodernism Manifesto, co-founders Billy Childish and Charles Thomson stated: “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.”

You can take the words “as art” out of that statement, and it summaries the abuses and failures that are coming to a head now in our culture now quite succinctly. With its distrust of received authority and emphasis on spirituality and personal responsibility, Remodernism was a harbinger of greater movements taking form across the globe.

Just like the “Brahmandarins,” the know-nothing educated classes who fancied themselves privileged and entitled, are being toppled from their positions of power in administration, so they will be cast out of their gatekeeper status in the arts. Their particular brand of “scholarly” art has had a hundred years to gain traction in our civilization, but has failed to do so. Without their endless partisan support, this stuff will vanish quickly, only notable as artifacts of a bygone era.

Who is on the wrong side of history now?

Cutting away the presumptions of the existing arts establishment is liberating. The possibilities are limitless. We are the latest iteration of the American character: optimistic, ordinary people working as explorers and inventors, self-reliant and productive. We make a complex art for complex times.

Welcome to Remodern America.

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Richard Bledsoe “Side Saddle” acrylic on canvas 24″ x 30″

 

 

EXPLOITS: A Very Rare Painting Reboot

 

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Richard Bledsoe “The Ghost of Slumber Mountain” oil on canvas 30″ x 24″

The second version

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I have so many ideas for paintings, it is very rare that I would ever paint the same image more than once. In fact, there is only one occasion I can remember doing it. I was reminded of the circumstances recently while we were working on some home renovations, and I had to move 16 years worth of art.

I”ve written before of a troubled time in my artistic explorations, when for several years I made bad, unresolved paintings on wood panels. While most of these unsatisfactory works are exiled to my garage, while doing our rearrangements I found one stored in the house. It happens to be the only painting I ever explicitly repainted.

I am haunted by a story from the early days of film. In 1918 the stop motion animation pioneer Willis O’Brien made a movie called “The Ghost of Slumber Mountain.” Originally 40 minutes long, the distributors of the day cut the movie down to 19 minutes highlighting the dinosaur action O’Brien created.

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Innovator: Willis H. O’Brien at work

The plot that remains features a supernatural visit to a hillbilly cabin and a time traveling telescope. It’s unclear exactly what got cut out. That version still survives, but the rest of the film is lost. Commercial pressures destroyed a rare representation of the birth of a new art form.

The title alone evoked a vision for me, and some time  during the years 2004-2005 I tackled the painting, during the ebb of my artistic efforts. I wasn’t happy with the outcome.

But what I wanted that painting to be stayed with me, to the extent many years later, probably around 2008, I painted the image again. I was back in my artistic groove by then. The second version, depicted above, captures the eeriness I was after all along.

But what about the first version, which I did display in one art show before it was put safely out of sight?

Here it is, in all its dubious glory:

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Richard Bledsoe “The Ghost of Slumber Mountain” oil on wood panel 36″ x 30″

Version One circa 2004-2005

Ugh. I can only put this out there because it is so securely in the past. I have to say, out of all my bad paintings from the time, this is one of the better ones. Even now, I like the body of the creature quite a bit, and the rocks and trees of the skyline. But overall, a swing and a miss.

Seeing this made me feel maybe I should revisit some of the other works I failed to execute the first time round. There are still visions there that deserve to be manifested.

“It is the Stuckist’s duty to explore his/her neurosis and innocence through the making of paintings and displaying them in public, thereby enriching society by giving shared form to individual experience and an individual form to shared experience.”

-The Stuckists Manifesto

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Everyone’s a critic

Our cat Motorhead passes it by without a glance

COMMENTARY: The -isms of Modern Art

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Alfred Barr, Jr.

Director of New York City’s Museum of Modern Art 1929-1943

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Lots of people say they don’t appreciate Modern Art. The term is used as a kind of generic catchall description, often a term of derision for the hokum perpetrated by the out of touch creative class of visual artists.

Technically though, when people refer to Modern Art, they are talking about something that is already in the past.

Modern Art was the future that ended.

For centuries in the western world, art followed predictable formulas, and only changed slowly. Artists focused on creating variations of Classical art, inspired by the masterpieces of ancient Greece, Rome, and the Renaissance.

There was broad consensus on what made for quality art. Order, beauty, and flawless adherence to approved techniques were desirable traits. Support for artworks came from powerful institutional patrons: the church, the state, and the aristocracy. These factions had much to gain from promoting stability and the status quo.

Sometimes an isolated eccentric would create art of a different kind, and challenge expectations. The artistic and cultural establishment of the times reacted harshly to such experimentation. William Blake was called mad, and worked in near total obscurity on his visionary books. J.M.W. Turner faced criticism and ridicule as his landscapes became more atmospheric and abstract. Francisco Goya kept his powerful and morbid black paintings hidden away from his employers at the royal court.

Despite these occasional flare ups from forward thinking radicals, for centuries the art world was a model of social control. Creatives were dominated by the elite. Training and opportunities for artists were under monopolistic control. It’s not that different in today’s commercialized fine art market. Advancement requires conformity to the self-aggrandizement and conceits of the ruling class.

But by the middle of the 1800s, the traditional dynamics changed. Life started moving faster than the establishment could react. The long standing pattern of gradual cultural evolution done in the service of the powerful underwent massive disruptions.

The Modern Age was upon us.

There’s no clear cut definition of the time the Modern Era covered. I define the era of Modern Art as running almost 100 years, bracketed by two art shows: the Salon des Refusés in Paris 1863, to the first major Pop Art show held in New York in 1962. The roots run deeper, and the influence lingers longer, but this is a useful measure for when Modern ideas were the most important in the culture.

Before the Modern age, the conventional understanding was art should present beauty, which represents truth. In modern art, beauty was no longer the highest aspiration, because it symbolized a kind of order and redemptive quality intellectuals had lost faith in.

Modern age rationalism and materialism compels that everything needs to be dissected and analyzed. Artists brought this mentality into art, and manifested this questioning both thematically and visually.

As the Modern age unfolded, the ideas imposed by social changes seemed to demand artists abandon art’s enduring function as a tool for bringing harmony and unity into the lives of humanity. A sense of doubt became a standard starting point.

No longer did art look to provide the comforting experience of the beautiful.  Modern art featured probing and often critical ideas about the nature of art, perception, humanity, and the values we so often fail to live up to. Pessimism was a safe attitude, depicted with ugliness.

Modern art took on an unstable aspect as artists looked to find something to effectively replace the sense of meaning and purpose that had informed the art of the past. The creative class tried to define possible alternatives, angling for personal advantage and prestige. Theories abounded.

Modernism fragmented into competing movements, schools, and influences. With all the possibilities swirling around, artists were not sure what or who to believe in. In rapid succession, the art world moved through major phases: Impressionism, Post Impressionism, Symbolism, Fauvism, Expressionism, Abstraction, Cubism, Futurism, Suprematism, Constructivism,. De Stijl, Dada, Surrealism, and Abstract Expressionism. Artists built entire careers based on the nuances of these experiments.

Modern art can be observed as a series of trends proposed as solutions to the void introduced into heart of art-and by extension, life itself. Nothing seemed to work for long.

This lead to a terrible burnout, and what we have now: the sophistry, shallowness and will to power of the Post Modern age. But even this horror is coming to an end. We are at the beginning of a new era. Welcome to the Remodern Age. We integrate the fragmentation of the Moderns back into a holistic approach, art as a tool for communion and connection once again.

EXHIBITIONS-Russian Stuckism: Registered in Moscow and Moscow Region

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The exhibition in Moscow

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“Communion has been one of my artistic goals for as long as I can remember.”

-Ron Throop

It’s been a very busy year.

I am thrilled to announce Michele Bledsoe and I were invited  as special guest artists for a July exhibition in Moscow, Russia. Also featured is New York painter Ron Throop, who has been very busy himself with an ongoing DIY cultural exchange with the Russian Stuckists who organized the show. He documents their exploits on his blog, Round Trip Stuckism.

I wrote about Ron Throop’s vision when they first launched the project. I really admired the initiative and enthusiasm shown. Grassroots painters separated by half a world and some really intense history were using art to come together, to learn from one another, and to provide support, despite vast physical distances, language barriers, and cultural differences. It’s really inspiring. Ron’s achievements were recently recognized when he was awarded a grant from the New York State Council for the Arts Decentralization Award Program.

The art they are making is fantastic.

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Andrew Makarov

“The Pretty Lady Takes the Andrew Makarov’s Phone Number in the Yard of the Ministry of Labour and Sotsrazvitiya”

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Stuckism, the most visible manifestation of the Remodernist art movement, has spread to 236 groups in 52 countries. It truly is an art of the people. We have a mighty task to accomplish: to redeem art from the crisis of relevance that elitist malpractice has inflicted on the culture.

I was very grateful when Andrew Makarov sent me a Facebook message inviting us to share our paintings. Michele and I sent works to Russia for the show, and included a copy of our children’s book The Secret Kingdom as a gift. I’m looking forward to more exchanges with these creatives. We all speak the universal language of art.

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Michele Bledsoe “Forever” acrylic on canvas 5″ x 4″ 

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Richard Bledsoe “Diver” acrylic on canvas 5″ x 4″

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From the Handbill:

“Russian Stuckism, registered in Moscow and Moscow region — an exhibition at a Moscow gallery “Skolkovo”, July 2nd – 30th. The exhibition is based on works of Moscow painters, who has joined the Stuckism International about a year ago: Alexey Stepanov, Andrey Makarov and Lena Ulanova. Their artistic way highlights the meanings of collectivism, equality between process and the result, and registering the events around them without judging the events. Alongside with the Moscow representatives of the Stuckism, you will see their colleagues from St. Petersburg (Ilya Zelenetsky and Sergey Uryvayev) and American artists Ron Throop, Richard and Michele Bledsoe. When exhibited together, the works of these artists suggest one of the answers to the question on the place of picturing in the modern art.”

EXHIBITIONS: The Provocative Art Show

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Sabo “Hillary 2016”

ARTICLE: A Provocative Art Show in Phoenix, Arizona

What is provocative art in a hyper-politicized age?

It’s art that dares to express dissent from the orthodoxy of the ruling establishment. And despite their best efforts to camouflage the nature of their oppressive and destructive grip on the culture, the establishment these days is a hive mind of Progressive dogma.

In this era of integrated information, we are witnessing the most concerted attack on freedom in world history. The powerful are colluding to manipulate the powerless to act as the shock troops to enforce the agenda of the New Aristocracy of the Well Connected. From positions of power in government, administration, academia, media, and the arts, they promote lynch mob tactics against anyone who does not conform to their Orwellian programs of doublethink, thoughtcrimes, and Two Minutes Hates.

The festering ambition in the corrupt hearts of the elitists is unaccountable power for themselves; now they fancy they have the technology to make their tyranny truly global in scale. They like to proselytize about the direction of history, and appeal to idealism in order to sucker the useful idiots they need to act as their muscle. Yet in practice their proposed model will end up looking like every other attempt since Marx: a small group of privileged thugs standing on top of mass graves, while the enslaved populace toils away in fear and hopelessness.

There’s nothing progressive about what the Left proposes: it’s a regression to the same old feudalism that is as old as mankind itself, tarted up with some buzzwords and hypocrisy. The Gramsci long march through the institutions has been effective in degrading the culture to make a society ripe for totalitarianism.

We are on the edge now. All too soon, we will either see their plot succeeded, or we will find out what happens when their overreach crumbles, and their grand designs collapse under the weight of hubris and backlash.

What those who prefer freedom over submission do have in our favor is the reverse Midas touch of the Left: everything they take over, they turn to shit. Their dysfunctions can only be sustained when they can enforce a monopoly. There is perhaps no clearer visual evidence of the failures of the establishment than the contemporary art world.  Under the guidance of careless elitist caretakers, the arts are undergoing a crisis of relevance. This actually presents an amazing opportunity.

The elitists think they have the arts all sewn up. It’s the last place they expect a counterattack to come from. And yet, for any real challenge to the current establishment hegemony  to take place, it has to start in the arts. As a smart man once said, “Politics is downstream from culture.” This can be seen as a reiteration of what visionary English artist William Blake noted centuries ago:  “The foundation of empire is art and science. Remove them or degrade them, and the empire is no more. Empire follows art and not vice versa…”

Empire in this sense doesn’t refer to a specific form of government but more so a culture, the authority of a way of thought, a sense of shared values. The elitists have weaponized art into an assault on the achievements of Western civilization, but they have nothing coherent, useful or enduring to replace those achievements with; all they offer is their lust for domination and self-aggrandizement. This makes their program a very niche market.

So the answer is to bypass the filters of the establishment, and take the change directly to the people. In April, at Lotus Contemporary Art of Phoenix, Arizona, a group show of citizen artists took a stand. This will hopefully be the first show of many.

Coordinated by Provocative Art 2016, this exhibit brought together renowned artists from across the country, including Pulitzer Prize winning cartoonist Michael Ramirez, National Review cover artist Roman Genn, and controversial guerilla public artist Sabo. As organizer Melissa Dawdy states, “…what provokes interest today is artwork that that expresses freedom within the context of Western Civilization.  Artists are planting a flag in the sand, saying ‘Art is not about conforming to a political view.’”

It was an honor to take part in this show. Many concurrent streams of free expression were presented: street art, illustration, and fine art shared the space, displaying skill, humor and integrity.

As the revolutionary Remodernist Manifesto declares:

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 principles on which Modernism was based are sound, but the conclusions that have now been reached from it are preposterous.

We address this lack of meaning, so that a coherent art can be achieved and this imbalance redressed.”

We are the swing of the pendulum.  This is only the beginning.

THE ART

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               Floyd Alsbach “Solon’s Demon 2 (Ares Berserker)”

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The Collective

Richard Bledsoe “The Collective”

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Abstract

Denise Fleisch “Untitled”

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Roman Genn “Che Obama”

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Sharon McGovern “Lazarus Dancer”

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Michael Ramirez “The Anchor”

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Sabo “Ted Cruz”

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Tanya Slate “Diminished”

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Marc Stolfi “Mmm..mmm..mmm”

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