STUDIO: A New Painting in Progress, Part 4: In the Belly (Not All Accidents Are Happy Ones)

Work in Progress: In the Belly 

 

I am currently at work on my latest large scale piece-large for me being in this case 30″ x 40″. In my first post, I showed the first crude underpainting. In the second post, I started making additional drawing decisions. In the third post, I started bringing out suggestions of the original vision-the whale not just as an animal, but as a gilded cage of chaos.

The painting is coming along well (see above). But working as an intuitive artist, obstacles arise which could not be foreseen. I am presented an image in my mind; they come to me in a flash, complete. It becomes my task to translate that vision into a form that can be shared, filtered through my individual artistic personality. I paint my works directly onto the canvas, without preparatory drawings, all the better to take advantage of sudden discoveries and inspirations.

However, in art as in life, there are problems that come along with the opportunities.

Pablo Picasso, that human kaleidoscope, explained something like the dilemma I recently faced in my painting, when he talked about a visit he made to his Cubist colleague, Georges Braque.

 

“I remember one evening I arrived at Braque’s studio. He was working on a large oval still life with a package of tobacco, a pipe, and all the usual paraphernalia of Cubism. I looked at it, drew back and said, ‘My poor friend, this is dreadful. I see a squirrel in your canvas.’ Braque said, ‘That’s not possible.’ I said, ‘Yes, I know, it’s paranoiac vision, but it so happens that I see a squirrel. That canvas is made to be a painting, not an optical illusion. Since people need to see something in it, you want them to see a package of tobacco, a pipe, and the other things you’re putting in. But for God’s sake, get rid of that squirrel.’

Braque stepped back a few feet and looked carefully and sure enough, he too saw the squirrel, because that kind of paranoiac vision is extremely communicable. Day after day Braque fought that squirrel. He changed the structure, the light, the composition, but the squirrel always came back, because once it was in our minds it was almost impossible to get it out. However different the forms became, the squirrel somehow always managed to return. Finally, after eight or ten days, Braque was able to turn the trick and the canvas again became a package of tobacco, a pipe, a deck of cards, and above all a Cubist painting.”

 

He Was Only 5’3″

Braque and Picasso Get Squirrelly 

So, in the process of trying to evoke a painting experience, something unbidden had worked its way onto Braque’s canvas. Or maybe Picasso was just messing with him. I wouldn’t put it past him.

But recently I had a similar misstep while working on In the Belly.

My wife, artist Michele Bledsoe, and I were working in the studio. She noticed I suddenly started raving and muttering at my painting; lost as I was in the moment, I didn’t even realize I was talking out loud.

What was the problem? While I was trying to render where my whale’s fin attached to his body, I was horrified to see an equally horrified emoji had appeared on my canvas (outlined in red, below).

Is There An Emoji For The Scream of a Lost Soul? 

This could not stand. Mumbling about “wiping that look off your face,” I attacked the problem area with more marks and shading.

When I stepped back, I saw that I had succeeded…succeeded in giving the unwanted face eyebrows and a hat.

Facing the Problem

Needless to say, I had to cover over this whole area, and start again. It happens with the methods I use. As I state in my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:

“I vanish while my paintings get applied to the canvas. I have the continuous experience of stepping back from the work to see it, and it’s like I’m stepping out of a trance. I’m constantly surprised by what I see has appeared on the painting, because I have no memory of doing it. Turning myself over to this receptive state allows something beyond my own capacities to take over. My best achievements are works done through me, rather than by me.”

The point of this post is, although I have the upmost respect for The Muse, sometimes she’s got a strange sense of humor. I’ve learned to laugh, enjoy the message, and move on.

 

Previous articles:

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

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

STUDIO: A New Painting in Progress, Part 3: In the Belly

 

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

STUDIO: A New Painting in Progress, Part 3: In the Belly

In the Belly: 

Colors Developing 

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I am currently at work on my latest large scale piece-large for me being in this case 30″ x 40″. In my first post, I showed the first crude underpainting. In the second post, I started making additional drawing decisions.

I ended up rejecting some of the drawing elements shown last time. The figure was all wrong. I covered it over with a skein of gold.

And that’s when things started to go strange.

Because I never intended this to be a realistic depiction of a whale. The vision I had showed me Jonah not inside a sea mammal, but in a gilded cage of chaos. I rendered the figure again in a more dynamic pose-from the fetal position, to a more reaching out posture, limbs akimbo. This change is philosophically meaningful. It’s exciting to figure it out as I work. The painting tells me about myself, and my own mental, emotional and spiritual states.

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

“Remodernism is the return of art as a revelation. We are showing particular things about ourselves that can also be universally recognized. Our art symbolically represents flawed, searching humanity participating in birth, existence, growth, and death. It is mysterious and moving, comic and tragic, clumsy and elegant. Remodernism is a celebration of the beauty and weirdness of the life God has granted us.”

 

This painting is taking a hallucinatory turn. Watch this space for future updates!

Take a Trip 

 

Previous articles:

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

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

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

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

In the Belly

Evolving Imagery

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

These images show the progression.

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

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

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

 

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

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

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

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

Watch this space for further updates!

 

Previous article:

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

 

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

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

 

Art is for Morons at AoSHQ 

Art

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

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

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

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

In the Belly

A New Painting for the New Year

 

I am currently at work on my latest large scale piece-large for me being in this case 30″ x 40″. The image above is my first crude underpainting for a piece that I will be working on for the next several months.

The current subject came to me in a vision, as my imagery often does.

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 it out of my mind. I’m going to need to paint it out.

The story of Jonah describes a man who tried to dodge his responsibilities, and wound up being swallowed by a great fish-temporarily. One of my favorite artists, Albert Pinkham Ryder, painted this subject before.

Albert Pinkham Ryder “Jonah”

 

I have visited this theme before, in a small work.

Richard Bledsoe “Leviathan My Friend” acrylic on canvas 12″ x 12″  

2020 looks like it’s going to be the year of getting stuff done. We can’t remain the bellies of the various beast that consume us. We must do the work we are called to. That is the energy I am pouring into this new piece.

It’s powerful theme, that everyone can relate to in some way. As I state in my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization: 

 

 

As I work on the paintings, I come to interpret them. Patrons will often share insights with me on my works as well, telling me meanings that I didn’t even realize, but which become clear once indicated.

Such is the seductive beauty of symbolic expression; even when manifesting universal archetypes, a symbol caresses the spectator in an intimate manner. While symbols can communicate concepts shared in common, each person experiences the thrill of recognition in a unique way, different as fingerprints.

 

I will periodically post updates on this work, and share the progress.

 

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

 

 

Andy Warhol’s Pop Art Christmas Cards

An Andy Warhol Angel 

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“Andy was a Catholic, the ethic ran through his bones/

He lived alone with his mother, collecting gossip and toys/

Every Sunday when he went to church/

He’d kneel in his pew and he’d say/

“It’s just work, all that matters is work.” 

-Lou Reed, from Songs for Drella

 

It’s true. Pop artist Andy Warhol, the legendary, ironically blank scenester, was also a devoutly religious man. He attended church faithfully, volunteered in soup kitchens, and made a late body of Christian themed works that have been largely overlooked by the hostilely secular art world.

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Warhol Meets Pope John Paul II, 1980 

As a person of faith, Warhol used his artistic skills to celebrate Christmas. Before Andy found fame in the gallery scene, he was a successful commercial artist. From 1956-1962 he produced box sets of Christmas cards sold by Tiffany’s. He rendered these as quirky doodles, far removed from the slick screen  prints he’s known for.

Here are just a few examples of Warhol’s holiday spirit.

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Christmas

Christmas

Christmas Cards 

 

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

“As the prophet of the Postmodern, Warhol was another harbinger of the mess of a culture we are currently slogging through. It’s not his fault. Do you blame a reporter for the news he covers? The cultural traits Warhol portrayed didn’t start with him. He fulfilled the role of the artist giving us foresight into the culture’s momentum.”

1978: Truman Capote and Andy Warhol Celebrate the Season

Maybe a Little Too High Spirited 

But I like to think behind the facade of celebrity and detachment, there was the real human Andy, who celebrated Christ’s birth with sincere joy.

Merry Christmas!

An Andy Warhol Nativity 

 

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

 

 

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

The Lighthouse: A Beacon, a Warning

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Most movies fail to achieve the status of art.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Stop, Children, What’s That Sound: Midsommar 

 

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

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The Success of Joker is No Laughing Matter 

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

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

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

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

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

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

The Lighthouse

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

The Lighthouse: Yo Ho Ho 

 

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