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.
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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.

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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

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″