COMMENTARY: The Postmodern Establishment Wants to Exterminate the Experience of Art

Going Deep: An image from the Red Book of Carl Jung 

The war against the First Amendment has many fronts.  It’s become clear our right to freely express ourselves is being smothered by those who control the means of our communications. This stifling may have been subtle in the past, but no longer.

The New Aristocracy of the Well Connected, the class which dominates our government, media, tech  platforms, academia, and corporate boardrooms, are working in unison to suppress any Thoughtcrimes from spreading amongst the people. They can’t have any deplorable dregs of society dissenting from the totalitarian utopia being developed.

It has been become evident that the free flow of the Information Age has been stealthily blocked, filtered, and misrepresented to serve an agenda. The delusions being manufactured undermine our society; even our personal relationships are being soured.

However, “Empire follows art and not vice versa,”as the visionary artist William Blake noted. Enduring changes start in the arts. The signs that an unaccountable cabal was manipulating the culture into a state of uncomprehending submission  were evident in the antics of the establishment art world for at least the last century.

Many refer to any puzzling artwork as “Modern.” Modern art as a set of dominant ideas in the cultural elite also lasted about a century, but were pretty much wiped out by the 1960s. We as a culture entered a very different mindset, the clumsy power grab of Postmodernism. It’s the magical thinking of the ruling elites, who have decreed that they can alter reality with the sorcery of sophistry, and deny out of existence the eternal chains of cause and effect. The world has suffered greatly under this subversive hoax. Anything that could disrupt the systematic brainwashing of the populace was infiltrated and corrupted.

The arts were early casualty in the battle, targeted because true art is such a powerful threat to the elite’s influence and control. There has been no freedom of expression for decades in the establishment art world. It’s the personnel that matter. Only partisan fellow travelers get advancement and opportunities.

The cultural institutions have replaced art with artifice, an empty mimicry of the outer appearances and gestures of art, without partaking of any of its true substance and significance. Major museums try to conflate art with amusement park rides and political activism. Where once the ruling class subsidized creative geniuses like Michelangelo and Pablo Picasso, they now throw money at marketing hucksters like Jeff Koons,  propaganda shills like Banksy, and cynical nihilists like Damien Hirst.

These apparatchiks and others of their ilk can be counted on the enforce the status quo, and make the timeless human tradition of art seem off putting and banal. Postmodern art is a tool of oppression.

jk
Jeff Koons: A Pile of Inadequacy  

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Banksy: Know Your Place, Peasants 

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damien-hirst-shark
Tanked: Damien Hirst

The Postmodern establishment wants to exterminate the experience of art. They would deny our society the inspiration to live up to ideals, the encouragement to think and feel deeply, the yearning to harmonize with truth and beauty. They want us to stay shallow and distracted. Anything not subservient to the all-powerful groupthink is a dangerous blow against obligatory conformity.

The elites hate genuine art because it is beyond their control. As the great analyst Carl Jung stated, “To the scientific mind, such phenomena as symbolic ideas are a nuisance because they can not be formulated in a way that is satisfactory to intellect and logic.” Elitist minds are far from scientific, but they love pseudo-intellectual grandstanding, so they reject manifestations of humanity’s spiritual core. It’s why progressives lash out so viciously at profound human experiences like art, but also at religion, patriotism and family kinship. These feelings cannot be tamed into the passive slavery that is supposed to be our lot in life. The arts have been marginalized by the establishment’s relentless efforts to drain the soul out of everything.

Real art stirs a sense of mystery that is beyond any reply. It is just experienced. Great artists manage to transmit their own unique experience of the mystery into a form which others can partake in. Concepts arising from our unconscious are infinitely more meaningful than the social engineering gambits we are being forced into. This disconnect causes discontent, and so, from on high, there has been an all out effort to remove the chance anyone could have their mind expanded from exposure to artistic achievement.

It is impossible to eliminate our fundamental human drives for long. They’ll come back, with all the glory and savagery of nature, because the human unconscious is itself a force of nature. Art will come back into right purpose and application, and provide vital assistance in freeing other areas of life. Across the globe, in various ways, we are shedding the baggage and burdens our cultural administrators tried to bury us in.

Postmodernism is now the consensus worldview of the ruling elite. But far from being an unassailable citadel, Postmodernism is also the reason their current hierarchy is weakened, and failing. Their would-be tool of domination is destroying them. They’ve been hollowed out by their own corrupt pretensions; their collapse is inevitable.

Postmodernism is already dead; we just need to put a stake in its heart, vampire style, to keep it from continuing to wander around, feeding off of the living. And what comes post-Postmodernism? It is the dawn of a new era: the Remodern age.

As I describe in my upcoming book, “Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization,” it’s time to get happy again, and look to the potentials of freedom:

 

“This is our moment in the mighty continuum of art and life. Real art knows no boundaries; it communicates across all times, across all cultures. Art is as much an aspect of our species as the opposable thumb, and just as prevalent. The art world can be as big as all of humankind, if we do if right. Remodernism accepts responsibility for the art of our times, conveying the wisdom of tradition into the opportunities of the future. Remodernism is love made visible.”

Carl Jung discussed the archetypes, models for the human experience that exist in our collective unconscious. One of the archetypes of the West is the Dragon Slayer. Postmodernism is just the latest version of the world serpent, the force in life that seeks chaos and destruction. Our own inner nature tells us we are destined to prevail against this threat, but only through bold action. Art is a Remodern weapon we can wield.

Carl Jung Understood the West: Our Monsters, Our Heroes 

 

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

 

 

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PAINTINGS: The Evolution of “Hollowsaurus”

 

Richard Bledsoe “Hollowsaurus” acrylic on canvas 24″ x 36″ 

On September 1, 2018, I finished Hollowsaurus, an epic painting 6 months in the making. It was an ambitious expansion of an image I first played with on a small canvas:

 

Richard Bledsoe “Table for Two” acrylic on canvas 12″ x 16″ 

 

I was so intrigued by this vision I was presented with that it inspired a whole series of images in my mind.  These pieces are the beginning of a new body of work for me. I have already started the next one. I feel the powerful symbolism flowing through these pictures. They speak to me without being reduced to mere words.

While I was making Hollowsaurus, I took pictures of its development. I think these photos give insight on how I build a painting, and how the works evolve.

Barely Begun 

 

 

Defining the elements 

 

 

Building Details 

“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.”

-The Remodernism Manifesto 

STUDIO: “Night’s Forces” Emerges from the Room of Shame

Richard Bledsoe “Night’s Forces” acrylic on canvas 30″ x 30″ 

Let me tell you about the room of shame.

The room of shame is the place where unfinished paintings are stacked, faces to the wall. It must have close to a dozen residents right now, some as large as 30″ x 36″. Some have been in there for many years.

These are paintings which I began, and then at some point in their development, I lost the plot, and the point, and my ability to finish them. This happens sometimes when working intuitively. The inspiration dries up before the work is complete.

I always have multiple works going. For example, right now, I have 4 unfinished paintings pending, 2 of which are practically done. So it’s no great blow to my productivity if I have to put something aside temporarily, or not so temporarily.

Some incomplete works are unsalvageable. I will paint over them, and create a whole new image.

But the paintings in the room of shame are worth completing. I still believe in them, and am waiting for their moment to return. They say the way you do something is the way you do everything. I may be slow, but I am persistent.

Case in point: Night’s Forces.

I began this painting in 2015. It was far advanced when I had to put it away. I’d had a series of studio sessions on it where instead of improving it, I was making it less effective, less resolved. It was a complex composition. I couldn’t get the colors and definitions to function. Off it went to the room of shame, where it lingered for years. Until a few weeks ago, when I brought it out again. I made some big moves on it, because at that point I had nothing to lose. The work would either crash, or crash through. Fortunately, it was the latter.

Night’s Forces is now finished, and I’m ready to move on with additional new projects. My wife Michele Bledsoe created a video of me working on it as it entered it final phases. See the video here:

Video-Remodern America: Renew the Arts and Renew the Civilization

As I state in my upcoming 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.”

Sometimes a painting needs a time out followed by an assertive jump start. This return is driven by Remodernist motivation: I need to show you what I saw, so we will better understand each other, and life as a whole.

BOOKS: The Cthulhu Blues and Other Stories-by Richard Bledsoe

Richard Bledsoe and Michele Bledsoe

“Blind Mugwump Johnson” acrylic on canvas 10″ x 8″ 

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“We were led away from the others and sat under the shade of trees in the cemetery. As he arranged himself, sitting rather irreverently on a crypt, it gave me a chance to consider the hardships he must have suffered to reach such a condition. He was exceedingly tall but thin to the point of gauntness. His coloration could be described like that of an albino’s but instead of a pinkish tone, his pallor displayed a greenish tinge, with mottlings of purple. His unseeing eyes were squeezed shut, bulging behind lids that almost seemed to be sealed over. Unmindful of facial expressions, as the blind often are, he seemed to have a terrible snarl always about his lips, exposing his gums and a surprisingly strong looking set of teeth.

“Once he started to play his talent was evident, but it was not to my liking at all. The sounds he produced on his guitar I can hardly credit as music; his voice fluctuated between an eerie falsetto warble and an impossibly low croaking or gasping sound. Many of lines were delivered in some harsh language or dialect completely unknown to me. Those words which he sang that I could discern have shaken me to my very core.”

From the short story “Blind Mugwump Johnson and the Cooloo Blues” 

August 20th is the birthday of horror author H.P. Lovecraft (1890-1937). I have been a fan of his writings since I was a teenager. It’s amused me to watch his influence spread over the years, becoming mainstream commercial to the extent you could go on a Cthuhlu-themed shopping spree, if you wanted to.

Lovecraft invented an underlying myth for a series of short stories he produced during the early decades of the twentieth century. In his nightmare world, prehistoric Earth had been colonized by monstrous demonic aliens. These evil beings were still here, slumbering under oceans and desolate wastelands, waiting for their time to rise again. Encounters with these creatures or their human accomplices led to madness, death and destruction.

Many other authors have built on the haunted universe Lovecraft suggested. Here in Phoenix, H.P Lovecraft’s Birthday was a performance art event for many years, held at various venues. I took part in these shows, doing readings of a series of short stories I wrote, my contributions to the Lovecraftian Mythos.

These stories are collected in an ebook available on Amazon. The Cthulhu Blues and Other Stories.

My wife and I made a book trailer for it, which had us shrieking – with laughter.

The painting currently on the cover is a Lovecraft inspired painting I made in 2001; “Tendrils of the Dreamer.” However, when Michele Bledsoe and I first conceived the book, I decided I was going to create a new painting for the cover design.

I was going to produce a portrait of the character Blind Mugwump Johnson, the mysterious and sinister Delta blues singer. I started right away. However, as Michele assembled the e-book, I couldn’t get the painting right. It happens sometimes. Here is an earlier version, long before I quit working on it:

 

I covered this base coat with purples and unbleached titanium and then piled on more green, and redrew the mouth. It just wasn’t happening. Rather than delay the book, we went with another image, and the work in progress hung on the wall of our studio for months, unfinished.

Recently Michele and I started collaborating on paintings. After we finished our first one, she had another idea of how we could share a work. She asked if she could put her hand to finishing “Blind Mugwump Johnson.” She didn’t want to change it, just tweak it a little. I loved the idea.

She brought it to a wonderful resolution. With a light touch, she brought substance and subtlety to the image, and made it complete.

My next book is going to be “Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization.”  We are in the final editing stages now, we want it out this summer if possible.

But once that’s all complete, I look forward to returning to the shadowy depths spawned by Lovecraft, and discovering some more stories to tell about them.

 

 

COMMENTARY: Jeff Koons and the Establishment Art World’s Condescending Cult

 

Play D’oh! A Jeff Koons Pile of “Art” 

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“It’s a commercial world, and morality is based generally around economics, and that’s taking place in the art gallery.”

-Jeff Koons

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Part of what I want this blog to do is expose certain notorious figures of the commercialized contemporary art world to a new audience.

I’d like to help educate all you good people who, up until now, have been uninterested, alienated, or even hostile to the efforts of today’s networked creative classes, and their deep-pocketed supporters.

From what I see, the potential audience of the disengaged is practically everyone in entire world.

Elitist malfeasance has marginalized the visual arts in popular culture. Practically no one is paying attention to contemporary art other than a small bubble of artists, academics, institution apparatchiks, trophy-hunting high rollers, and those who wish to vicariously participate in their presumed sophistication.

Since most people have tuned out the shenanigans of this arrogant, decadent band of charlatans, you might be unaware of what the art world racket has been producing. You haven’t been missing much.

In this example, we have a major perpetrator of the corrupt art world status quo: Jeff Koons.

What’s up Doc? A Long Eared Galoot, and one of his Sculptures  

Throughout his career, Jeff Koons has racked up approximately $765 million dollars in sales. He does not make the pieces sold under his brand name. The actual work is done by anonymous skilled craftsmen. Koons contributes “concepts” that others execute.

And what kind of ideas has this mogul graced us with that have generated such windfalls? Treasures such as these:

Jeff Koons, “Michael Jackson and Bubbles” 

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Awww

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Jeff Koons, Poseur 

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Koons may be best known for a series of giant stainless steel replicas of balloon animals. An orange version of one sold for over $58 million. 

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Over inflated: Wiener Dog Art 

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Then there was the era in the 1990s when Koons married Cicciolina, an Italian XXX film performer. Koons commissioned a whole series of artworks featuring the couple engaging in hardcore sexytime action  (Warning: link is definitely NSFW). They were divorced in 1998; I can’t imagine why.

 

A PG-13 Version of Koons and His Porn Star Wife 

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Not everything is coming up inflatable tulips for the crafty con artist, however. Koons graciously offered to donate a monument to France for the victims of the  2015 terrorist attack: a 35 foot tall hand holding balloon flowers. He graciously expected them to install it next to the Eiffel Tower. The French not so graciously rejected this blatant attempt at product placement. Negotiations are ongoing.

 

An Indecent Proposal

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One of the top selling artists of this era of art specializes in obscenely expensive replicas of cheap toys, gimmicks, and smut. So what is the significance of this?

To understand, you need to look at one of the foundational conceits of art world elitism: the Marxist tinged struggle between the avant-gard and kitsch.

These terms rose to prominence in a 1939 essay by art critic Clement Greenberg. A devotee of the leftist Frankfurt School, Greenberg propounded his contempt for popular American culture. In my upcoming book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, I explain Greenberg’s assertions:

“…he claimed the cultural world could be divided in two. The avant-garde (a military term referring to strike force troops, who go ahead of the main army) were forward-thinking sophisticates, whose radical creations were driven by a contempt for the tacky tastes of the general public.

“To Greenberg, the common people were too ignorant to appreciate the rarefied efforts of the avant-garde; these backwards types could only appreciate kitsch (a German word used for low quality art), a phony vision of art which tugged at middle class sensations like beauty, patriotism, and sentimental feelings. A Norman Rockwell painting on the cover of a popular magazine was the kind of thing that could make an intellectual like Greenberg retch.

“Greenberg declared, ‘…part of Western bourgeois society has produced something unheard of heretofore: avant-garde culture. A superior consciousness of history—more precisely, the appearance of a new kind of criticism of society, an historical criticism—made this possible.’ The consciousness Greenberg refers to as ‘superior’ just happens to be his own, as he proceeded over the next few decades presumptively acting as the ultimate authority on art.”

So how did the art world move from rejecting the tawdry stylings of disposable popular culture to glorifying them?

The secret is the art world cosmopolitans are still dripping with contempt towards most of humanity. What has been added is the soul sucking Postmodern gambit of irony. By celebrating the tacky, elitists are actually mocking their straw man version of what “ordinary” people are capable of. Our New Aristocracy of the Well Connected disrespect the intelligence and capacities of all those whose lives don’t revolve around relentless elitist status signalling contests.

They assume that all we can appreciate is tawdry junk, and so they are having a patronizing laugh at us by spending millions on art that carefully reproduces…tawdry junk. Now it’s avant garde to clone kitsch, which makes it totally different because of reasons. Isn’t it ironic?

If you think that sounds dumb, you would be right. Welcome to the inverse values of the nasty Postmodern world, where our betters try to force us to accept that bad is good and stupid is clever.

This isn’t about the money. The finances are just a side show for most art world participants. Big league art deals are exercises in money laundering, tax evasion, and insider trading, but not that many get into that high roller category. What is most concerning is what it says about those controlling our cultural expressions.

The real perk for most establishment art types is a sense of superiority. Supporting a hoax substitute for art gets converted into the gold of social prestige through the alchemy of Postmodern dogma. It’s yet another proof that our current crop of cultural elitists are really not advanced at all.

Elitists hype outsourced and infantile art because of their own limitations. They lack depth and real achievement themselves, so they can’t tell the difference. They embrace this failure of character as a badge of honor, and mandatory for admission to their tribe.

What Postmodern charlatans have been pushing for decades isn’t even art at all. It’s artifice, an empty mimicry of the outer appearances and gestures of art, without partaking of any of its true substance and significance.

The good news is Postmodernism is dead. It no longer captures the new dynamic spirit of the age. As I state in the upcoming Remodern America Manifesto:

“Postmodernism shows the folly which erupts when the spiritual center of life is denied. Shifting focus away from the soul gave rise to an art world floundering in obscurity, destruction, pornography, propaganda, excrement and carrion. Contemporary establishment art is treated as a wedge, a social signifier of elitist attitudes, and a decadent toy for the wealthy.”

The art done in the name of Jeff Koons typifies this hostile positioning. Its cuteness is a sneer at what suckers we are. The species of cultural rot inspired by Marcel Duchamp has become such a tired trope.

Remodern art restores respect for the general audience, and their abilities to have profound experiences. Remodernists understand art is for everyone. We can all be stirred by beauty, moved by emotional expressions, and gratified by the experience of truth. Western civilization used to understand how art provided those uplifting states. Our current cultural institutions largely fail to produce these positive outcomes; instead they want to pretend a multi-million dollar imitation of a party trick is good enough for us dolts. They are wrong.

The Remodern age will be the story of the dismantling of centralized power. An arts establishment which claims a sarcastic marketing scheme is a major artistic achievement is a juicy target for serious reforms.

Jeff Koons: Having a Ball 

 

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

STUDIO: Collaborative Painting with Richard and Michele-Part 4, Completion

Michele Bledsoe and Richard Bledsoe “Tusk”

acrylic on canvas, 12″ x 6″ 

 

“The Remodernist artist formulates expressions of personal liberty in pursuit of higher meaning and significance.”

The Remodern America Manifesto 

Our first collaborative painting has been completed, and actually has been displayed in two shows so far.

Michele and I both created our own painting in our own unique style, but allowed a dialogue to form by the interaction of our individual efforts.

Michele compared it to having a conversation.

The process of working on a piece together was so enjoyable that we will continue to collaborate. We hope to someday have a show of just our shared pieces. Watch this space for future updates.

 

Read the series:

STUDIO: Collaborative Painting with Richard and Michele-Part 1

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STUDIO: Collaborative Painting with Richard and Michele-Part 2

 

STUDIO: Collaborative Painting with Richard and Michele-Part 3

 

ARTISTS: Arthur Benjamins

 

Arthur Benjamins “Swede” 40″ x 48″ 

 

“…I have remained self-taught, allowing me unfettered and raw access to self-discovery and directions in which to travel.”

-Arthur Benjamins 

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I always say painting is my healthiest obsession. It’s not about shows or sales or proselytizing. I must make these images.

Perhaps because I’m working from a state some would dismiss as symptomatic of OCD, I feel an affinity to other artists who are similarly driven. That drive is is evident in the paintings of Dutch-born artist Arthur Benjamins, and not only because of his ongoing body of work featuring race cars. The same acceleration appears in his more abstract pieces, where he is exploring Neoplasticism, one of Modern art’s most refined efforts to achieve formal beauty.

 

Arthur Benjamins “Trinity” 36″ x 16″ 

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Starting in 1917 in the Netherlands, the design movement also referred to as De Stilj aimed at the universal by using strong lines and primary colors. Piet Mondrian (1872-1944) is perhaps the best known artist associated with  De Stilj’s philosophical approach to art.

Composition II in Red, Blue, and Yellow, 1930 by Piet Mondrian

Influence: Piet Mondrian “Composition II in Red, Blue, and Yellow,” 1930

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I was surprised when I learned of Arthur Benjamin’s variety of styles, as I had only been familiar with his racing images. But I understand the commonality. I can see the connection between the sleek, clean lines and boldness of high performance vehicles, and Neoplasticism’s channeling of expression into geometric purity. There is a point in the artistic process where artists, no matter what is being rendered-a Formula One speedster, a nude, a bowl of fruit, whatever-somewhere in our minds we are translating it a pictorial mass of colors and shapes. How much more challenging it is to invest the same intrigue found in recognizable imagery into an arrangement of formally arranged planes.

I was also surprised when Arthur told me about what happened when he tried to share his explorations with some representatives of the arts establishment who specialize in the very field Arthur is contributing to. It is another proof that art elitists are very poor at recognizing developments which are happening before their own eyes.

I asked Arthur Benjamins to share his stories about his artistic discoveries and ideas. In this new Remodern era, it is illuminating to see how an artist takes bold steps in pursuit of his vision, and works to share his discoveries beyond the typical art bubble.

 

Arthur Benjamins “Grand Prix Homage” 

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Question: How did you discover you were an artist?

 

Arthur Bejamins: There are many artists who can rightfully claim that they were child proteges – championed by strangers, friends or family members alike. The ones who could paint life like figures before they could even crawl – the precociousness that always runs parallel with the many whose names are still on our lips and in our history books today. Well, those early skills passed me by.

I went to the Hebrew School in Bulawayo, Rhodesia in 1959, where I lived soon after my family swapped continents. I cultivated a balance between life or death in the sandpit, or the dangerously high ‘Jungle Jim’ from which there were enough possibilities for any 6 years old to fall out of, or the figure-of-eight, concrete  cycle path around the play ground, on which you could get a tricycle to lift its inside wheel if you went fast enough.

In between generating life threatening situations, several teachers noticed that I had a propensity to build tall structures out of large wooden building blocks. Subsequentially, my parents were told that I could ‘build something out of nothing’. That was the inauspicious start to it all.

As the years progressed, our parents told us of my paternal family members who achieved various degrees of artistic note and successes during their life in 19th – and 20th century Rotterdam, Holland – where I was born in 1953.

I was never a child art prodigy. I started late, possibly around my mid teens and the people around me treated my aspirations with head-patting indulgent kindness. I never developed a self-identity until much later.

Knowing that a part of my father’s family were successful artists, was certainly an ever-present spark, but my schools’ art classes never lit that blue touchpaper. Looking back at it now, those teachers were incapable of nurturing any potential talent.

As a consequence, I have remained self-taught, allowing me unfettered and raw access to self-discovery and directions in which to travel.

In the late 1960s, my artistic skills were still very much under developed. I had become aware of the British cartoonist, Carl Giles and who I wished to emulate.  Around that time I also became passionately interested in motor racing

After a relative short while, it dawned on me that I’d never become a racing driver, but in 1968 a Dutch artist, Jack de Rijk was featured on Dutch TV. He had suddenly achieved fame and fortune by painting motor racing scenes. It appeared he was ‘discovered’ by a Ford executive, who bought all of his exhibited works at a Hilton Hotel and commissioned him a great many more.

Combining my motor racing passion with painting – I had suddenly found my true vocation in life.

I remain more than honored when I meet, or hear from other automotive artists who tell me that my presence at various British racing car shows, spurred THEM into traveling down the same route as I did. It completes the circle but I am sad that Jack de Rijk passed away in 2005 before I could tell him what an unbelievable influence he had always been to me. However, I truly believe that he knows.

Q: What do you hope to convey through your work?

AB: I must add to say that any artist who says that he/she has never been influenced by the works of others, is lying. So, too, are the ones claiming they’re not seeking an audience. We sell our souls to the ones who have polarized ideas and passions, conversely hoping they’ll listen.

Once artists come to realize that a large proportion of the world sees them as ready entertainment – as monkeys in cages, ready to be poked with sharp sticks – a very large burden will fall off their shoulders.

The world no longer sees artists as a barometer of social issues – that has been passed on to the  vapid, empty-headed, transient ‘personalities’, who are wheeled out to pass judgment on all subjects known to man.

I have painted several hard-hitting images pertaining to my view on one focused part of a socio political issue in the UK. 99% of the people I showed it to, missed the point completely, their explanations ranged from the absurd to the ridiculous. of . The strength of my message was high, yet it failed to hit its intended mark. Had it hit center mass, the guaranteed fall-out may have been of insufficient quality to warrant non figurative countering.

I don’t think that anyone could view my work as a carrier of any social message or comment. In fact I’m not interested in making any comments or statements on that plateau. I’m not interested in teaching, preaching, changing or bettering the world in any way through my art – but merely for the viewer to like, hate, buy, all three – or come away with even more curiosity than with which they arrived.

Arthur Benjamins “9-11” 

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Q: Your works underwent a significant change in style. Was this deliberate choice, or something that just evolved? Are you committed to one style, or do you vary?

AB: My very first works were truly inspired by Jack de Rijk and the only differences were that his depictions were barely representational of the reference material he was using. He certainly bypassed the true technical aspect of the cars, something I found imperative. My technical and mechanical prowess and ability to use perspective very well, all worked in my favor, and although there were some who alleged a similarity with our works, as time went on, those voices dwindled to nothing. Even now I get very irked when I see technical incorrectness for which there is no excuse. These days the procurement of correct reference material is almost 100% guaranteed.

In 1974, I took my graphic style to the UK, where I lived for the next 40 years. Imperceptibly I began to change from my graphic style, into a more photo realistic style – something that had not yet been used in automotive art – certainly not motor racing, of which there already were several established artists. Another Jack de Rijk aspect that I bought along as well – was the use of bright and colorful enamel paints – something that I continued using till about 2013 – when I began to use the quicker drying acrylic paints, which has different properties that I had to learn to use to my full advantage.

Arthur Benjamins “Jaguar 1-2″ 30″ x 40” 

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Around 2000, I moved away from my trademark photo realism. The jolt was sudden and it had been some years in the coming. I wished to return to my graphic style which I did with a temporary, in-between style, which I named, “Refractive Realism”. Since 2015, I have settled for a more graphic style and which leans heavily on my first. Life can go full circle, although I do realize that more changes may announce themselves at any time.

 

Q: How do you create your paintings now? How does this compare to your methods in the past?

AB: The only luxury I permit myself is the use of acrylic paint, because it dries very quickly, allowing quicker follow-ups of layers. Whereby my previous use of enamel paints required two coats – with seemingly eons long drying times. My move away from enamel paints is mainly due to the USA legislation pertaining to the chemical properties of those paints and that I cannot buy in enough quantity in the colors that I seek.

I do require reference material for much of my work and in order for these references to be laid down in scale, I cannot rely on ad hoc working techniques but must rely on countless calculations instead. Apart from my Science-Fantasy work, all my other technically based work was augmented by the exact correct references.

A very large aspect of my works is something that many viewers allow themselves to be perturbed about. Apart from automotive and aviation art, I have also embraced other genres and in other styles, like my “Desert Series”, “Abstract Iconography”, portraiture and my recent re-visitation of Neoplasticism, which had laid dormant since 1944. Many people are uncomfortable with artists whose oeuvre follows varying paths.

Apart from the existing Neoplasticism, the other styles have no bearing on any previous ones, nor can they be attributed to any. In itself, this can cause a meltdown among the many hidebound ‘experts’ who feel that all art must be able to be labeled to their satisfaction in order for it to really ‘belong’ in society.

Arthur Benjamins “Ekphrasis” 45″ x 45″ (diagonals) 

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Q: You recently had some interactions with the Dutch Gemeente Museum in The Hague. What was that experience like?  

AB: In 2017, the above museum was in the limelight with an obligatory Mondrian retrospective. A friend of mine emailed me a TV interview with the museum’s most enthusiastic Manager, Benno Tempel, showing much zest for Mondrian’s works and his lasting influence on world art, a sentiment with which I fully agreed.

Keeping in mind their well-documented stance on anything outside their immediate and normal remit, I emailed them an introduction to myself, my work and my intentions in proudly accepting the baton of Neoplasticism.

Not that there was anyone already in the running from whom to accept it, I voiced my decision to have taken the baton, 70 years after it was left behind and to run with it in my own unique style of which the Old Man would definitely have approved – especially in the same country 5500 miles away in which his name and movement rose to the top and where I, another Dutchman, had the fullest intention achieving the same.

I also cordially invited them to comment on my Neoplasticism, should they so wish. I also remained very clear that I was not seeking any form of approval from them, whether clear or begrudgingly.

I need not have feared – within 24 hours I received a reply from their curator, Hans Janssen. Not that I was expecting that my approach would have them dancing in the streets, the broad gist of his answer did leave me somewhat open mouthed.

They referred to a book which they published during their retrospective – and which seemed to be the most definitive publication ever printed on the subject of Neoplasticism and Mondrian. It was in there – so they hinted – would be the ‘Holy Grail’ of the perpetuation of Neoplasticism.

He audaciously closed his Ex Cathedra monologue that the museum only wished to deal with artists who showed distinct promise and talent – and that I certainly didn’t possess any of the aforementioned.

I answered them a few days later begging to differ on a few points. I urged them to reconsider their denial in Mondrian’s somewhat religious background not having openly driven him – but did have an influence nevertheless.

My following issue was that they (The museum) themselves didn’t have any clue – nor could they have – as to what constituted a ‘legitimate’ furtherance of Neoplasticism. I posed the further question that even Mondrian may not have known himself, and continued by saying that if that same question was laid at my own feet, I may not have been able to answer it – nor would I have been willing to try.

I finally referred to their book and that I was in possession of it. Alongside that – a whole slew of highly respected and well documented publications from over the many years and of which I was of the utmost certainty that even the museum would not have owned them.

It must have been this and my reply which must have made them (shamefacedly) realize that I wasn’t the nonentity they felt they were dealing with.

Again I invited them to reply in good time but so far only received an indignant silence.

The fact that they were so keen to supply an answer came as a surprise to me. The gist of it, didn’t. It merely underscored the typical belief that ownership of something automatically guarantees a deep knowledge of it, while in truth, the possessors bluster and hide behind their continuing ignorance.

It is exactly this prevailing, holier-than-thou attitude which feeds and propels the alienation of a growing part of the general public who have grown up sincerely believing that museums and auction houses are in a position to authoritatively comment on all aspects of art. Many go through life never seeing or accepting the facts, and the situation perpetuates itself with every never-querying generation.

The ‘World Of Art’s’ bullshit factor has reached stratospheric levels. Up until the freedom afforded to us of internet en social media, 20th century artists discussed whether or not ones work fitted inside the emerging framework of a genre or particular movement to which they had affiliated themselves. Aided and abetted by two world wars, this movement underwent a rapid overturn which rolled the dice outside their own elements of self interest. With the temporary self-exile of many European artists to the USA, the merging influences began to brew up.

This BS factor began to rest with galleries and failed artists who, with repeated pompous verbosity and limpet like tenaciousness would come to set the pace and meter for all artists’ career because they dare set sail in their fiefdom. With their effusive coterie willing spokes people happily doing their masters’ bidding – woe the artists who found themselves outside of the Greenberg-esque following, or who would fall by the wayside as the years progressed.

Those self-appointed ‘movers & shakers’ controlled the galleries and museums, who, over the years began to manage their own edict of fashionable dross. The remainder of those few ‘art critics’ are playing down their own role in the arts’ current deconstruction, leading you to believe that much of the ‘established’ art has been awarded a reverence by the educated middle class. This is all hot air. It is like an over inflated balloon which needs to be stabbed with a very sharp knife.

Q: What are you currently working on?

AB: My latest project was providing the artwork for the Daytona Museum Hall Of Speed Of America, which annually inducts between 6 and 8 people who over the years have been highly influential in the filed of motor racing, aviation and power boating. My artwork was extensively used for on the publicity posters, guides, champagne bottles for this prestigious, two-day event at the Daytona International Speedway.

My wife and I were invited to this event and met the many people who were the past and present inductees, like legends as Mario Andretti, Jeff Gordon and many more.

I have a very special Canadian client with a personal car collection of around 36 vehicles, including various Ford GT40s – including the 2018 model – and which I shall be commissioned to paint when it arrives. She has bought 10 of my originals in about two years and shows no sign of slowing down.

A British client of mine who I last spoke about 25 years ago, recently contacted me out of the blue and commissioned me to paint a range of helmeted drivers.

Directly after my annual Barrett-Jackson exhibition in January 2019, I will begin the remainder of the 10-week Arizona Fine Art Expo at which I will show an entire new range of my “Desert Series” – a growing body of works which illustrate desert life and colors in a completely different manner. This Expo deals predominantly with typical Southwestern art – something I eschew as it’s being done to death for many years now.

I remain involved in the “American Healing Art Foundation”, by teaching veterans my art at the Arizona Fine Art Expo. Also, teaching young children the basics of Neoplasticism at various Phoenix libraries. The list grows.

Yes, it has taken much effort to get to the point where I am today. It would be great if the levels of reward run parallel with the effort that one puts into it, but I keep in mind that the journey is probably as interesting and rewarding as the goal one sets.

In July 1894, one of my Granduncles arrived through Ellis island and made a name for himself in the USA in the form of two patents on the cutting and shaping of precious stones.

In the 20th century, and several decades apart, two Dutch artists, Willem de Kooning and Piet Mondrian also arrived in the USA and made tremendous and permanent waves in the world of art.

It is my fullest intentions to follow in their footsteps.

Arthur Benjamins (r) with racing legend Mario Andretti 

Visit the Arthur Benjamins website: 1 Pilgrim Studio