COMMENTARY: Establishment Art’s Ingrained Indoctrination and the Postmodern Manifesto

 

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Maurizio Cattelan “L.O.V.E.” marble, 36′

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“There are these two young fish swimming along and they happen to meet an older fish swimming the other way, who nods at them and says ‘Morning, boys. How’s the water?’ And the two young fish swim on for a bit, and then eventually one of them looks over at the other and goes ‘What the hell is water?'”

-David Foster Wallace, Postmodern novelist

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The quote above does a good job converting the rhetorical question “Does a fish know it is is wet?” into a lightly amusing anecdote, a brief fable which delivers its twist ending of wisdom as if it were the punchline for a joke. What’s not so funny is the truth that the story demonstrates, and its implications for the state of our civilization today.

To understand the crisis we find ourselves in, it’s instructive to look at the cultural assumptions and preferences of our so-called ruling classes. Their presumptions can be tracked based on the visual art they collude to promote and subsidize. The contemporary art market is another weapon in their arsenal, a way they can inflict their will on society in the form of punishment, disorder, degradation, divisiveness, and heavy handed instruction.

In the recent past George Orwell was able to advance an accurate definition: “Liberal: a power worshipper without power.” But what happened in the meantime was the forces of liberalism/progressivism/Marxism/whatever-they’re-calling-themselves-now-ism managed to drag the cultural focus onto favorable terrain for themselves. Our would-be masters have woven a make-believe world where their particular skill sets dominate; for decades their influence has metastasized throughout our institutions. Art just happens to be a field where it’s easy to see the damage they’ve caused. We are enmeshed in the Matrix-like reign of a toxic philosophy which can referred to by the ambiguous term Postmodernism.

It seems so simple, just a description for what happened after the Modern age. Even though many people still refer to any recent baffling example of artistic excess as Modern art, the underlying principles that made art (and by extension our culture) Modern have been dead since the 1960s. Postmodernist thought started in academia, but has since bled out so its dogma now dominates our politics, media, and especially the arts.

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Barbara Kruger “Belief & Doubt” installation, The Hirshhorn Gallery, Washington D.C.

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I’ve written before on how elitists push this ideology because it makes an effective tool of oppression. To be Postmodern is to be relativistic, cynical, narcissistic, and conformist. For those who might question such an interpretation, we are fortunate to have a document found posthumously among the papers of one of the leading advocates of this world view,  French writer Jacques Derrida (July 15, 1930 – October 9, 2004). Hugely influential amongst those susceptible to such pedantic banter, he pretty much summed up his accomplishments with this quote: “I’m no good for anything except taking the world apart and putting it together again (and I manage the latter less and less frequently).”

Derrida left behind a statement that bluntly summarizes the intentions of Postmodernism. I would suggest these days his ideas are like the water that we fish are ignorant of; propaganda so widely disbursed and unquestioned it’s invisible to us, even as we move through it, and are carried along by its flow.

Here is Derrida’s manifesto of Postmodernism: read it, and weep. Afterwards I give my thoughts on some of its precepts, and how I see us getting out of this mess.

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1. The art of the past is past. What was true of art yesterday is false today.

2. The Postmodern art of today is defined and determined, not by artists, but by a new generation of curators, philosophers and intellectuals ignorant of the past and able to ignore it.

3. Postmodernism is a political undertaking, Marxist and Freudian.

4. Postmodernism is a new cultural condition.

5. Postmodernism is democratic and allied to popular culture.

6. Postmodernism denies the possibility of High Art.

7. Postmodernism deconstructs works of High Art to undermine them.

8. Postmodernism is subversive, seditiously resembling the precedents it mimics.

9. Postmodern art is pastiche, parody, irony, ironic conflict and paradox.

10. Postmodern art is self-consciously shallow, stylistically hybrid, ambiguous, provocative and endlessly repeatable.

11. Postmodern art is anti-elitist, but must protect its own elitism.

12. To the Postmodernist every work of art is a text, even if it employs no words and has no title, to be curatorially interpreted. Art cannot exist before it is interpreted.

13. Postmodernist interpretation depends on coining new words unknown and unknowable to the masses, on developing a critical jargon of impenetrable profundity, and on a quagmire of theory with which to reinforce endowed significance. Vive le Néologisme!

Long live the new word-ism? No thanks. we’ve had more than enough.

Some comments:

“The art of the past is past. What was true of art yesterday is false today.”

Says who? No one I recognize as any kind of authority.

“The Postmodern art of today is defined and determined, not by artists, but by a new generation of curators, philosophers and intellectuals ignorant of the past and able to ignore it.”

This plays into the Leftist conceit of the New Class: that in the Utopia to come, Some Animals Are More Equal Than Others, and they get to call the shots. It is the dream of every progressive to join this most favored status clique.

To deny history is to deny any accountability for their achievements, any objective measure of their performance. So self-serving.

“Postmodernism is a political undertaking, Marxist and Freudian.”

Of course it is. The culture must be sacrificed to avenge their feelings of envy and inadequacy.

“Postmodernism denies the possibility of High Art.”

They deny it because they lack the means to accomplish it. Sour grapes.

“Postmodern art is self-consciously shallow, stylistically hybrid, ambiguous, provocative and endlessly repeatable.”

Real art is deep enough to support extended contemplation. It makes a definitive presence. Ambiguity is wishy washy compared to evoking enduring Mystery. To provoke is a minor reaction compared to inspiring. There is a magic inherent in the unique object made by human hands, heart, and mind working in conjunction each other.

Post modern art basically fails to actually function as art in every significant way.

“Postmodern art is anti-elitist, but must protect its own elitism.”

Postmodernists attempt to deny judgement, ratings of quality and effectiveness, because their own offerings are so feeble. The elitism they draw upon is the status in the herd, the correct observations of the obligatory declarations of loyalty and subservience to the hive mind, and the opportunity to bask in the reflected glory of their controllers.

“Postmodernist interpretation depends on coining new words unknown and unknowable to the masses, on developing a critical jargon of impenetrable profundity, and on a quagmire of theory with which to reinforce endowed significance…”

Real intelligence actually communicates very clearly and concisely. What the Postmodernist suggests is like mumbling to hide the fact you don’t know the answers. This world of sophistry and distraction is crumbling. The elitists are panicking, and attempting to convert their minions into shock troops to protect the status quo hierarchy.

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From Banksy, the anonymous millionaire creator of half-baked editorial cartoons 

The perpetrators of Postmodernism have gone beyond parody with their ridiculous posing, but it’s no longer harmless. From on high, the supplicants of the art world are receiving their orders: the culture must stop changing so the current power brokers remain in charge.

The obedient little fishes synchronize swim down the polluted stream issuing from practically every channel, doing the bidding of smug social media giants, partisan networks, repressive universities, biased newspapers, establishment politicians, empty headed celebrities, corrupt Hollywood, despotic foreign governments, and compromised corporations.

At the same time the little fishes flatter themselves that they are brave rebels, fighting the power. That’s what their masters are telling them that they are.

That disconnect takes an especially determined kind of ignorance.

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Exhibit A: Shia Lebeouf, being divisive

There is already a sound artistic philosophy ready to take the place of the defeated dead end of Postmodernism.

Remodernism is a reboot of the culture. It takes the energy, vitality and exuberance of the Modern era and integrates art back into the mainstream. Remodernism reverences art as a means to bring communion and connection. Billy Childish and Charles Thomson created an open source art movement which is in perfect sync with this new era of renewal.

Come on in, the water’s fine.

 “Remodernism discards and replaces Post-Modernism because of its failure to answer or address any important issues of being a human being.”

-Billy Childsh and Charles Thomson, The Remodernist Manifesto

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

ARTICLE: I Do Declare-The Power of the Art Manifesto

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Someone needed to say it: Manifestos have changed the world

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ARTICLE: 10 Game Changing Art Manifestos

The article above lists, in roughly chronological order, samples from documents that made an effort to define some particular set of ideas that artists could agree on. Good luck with that.

The tone varies in each, from playful to serious, from inspirational to ironic; but each can be seen as form of taking a stand. They take the risk of stating: this is what matters, and how it is done.

Such expressions of conviction could feel out of place these days, if we listened to the dominant voices in our culture. We live in an era where our institutions encourage us to be muddled and malleable, all the better for the controlling elitists to manipulate us.

The art world is full of this mushy thinking. A great example is how so many SJW artist types preen over the perception they are somehow cutting edge and challenging. They are oblivious that they are espousing the same causes and attitudes being championed by the universities, all the major newspapers, the big three networks and the majority of cable stations, Hollywood studios, ensconced and entitled government bureaucrats, go-along-to-get-along corporations, the official leadership of every major political party pretty much, and the authoritarian brow beaters of social media.

Such rebels, to be in unquestioning conformity to the steady diet of propaganda that barrages us from every angle.

Like William F. Buckley described, “In the hands of a skillful indoctrinator, the average student not only thinks what the indoctrinator wants him to think . . . but is altogether positive that he has arrived at his position by independent intellectual exertion. This man is outraged by the suggestion that he is the flesh-and-blood tribute to the success of his indoctrinators.”

By all means, let the poseurs keep believing they are speaking truth to power. Their indoctrination was highly successful. The code has been cracked to make these puppets the manifestation of the slogan Ignorance is Strength.

I find the idea of the grassroots manifesto a powerful antidote to the poison of centralized control. Instead of following the top-down dictates of the New Aristocracy of the Well Connected, let artists lead by stating their own idiosyncratic observations as a catalyst for real change.

A manifesto is a great tool.   It’s a statement of observations, principles, and proposed actions that the audience can test for validity, and choose to accept or reject based on their own ideas and experiences. I found the Remodernism Manifesto a very useful summation of very real problems that exist in the art world, and some sensible and positive solutions.

When I started sharing it in the art community, some were appalled, and felt the need to lash out. The forces of reaction recoiled in horror from a clear articulation of opinions and values that contradicted their world view. “Shut up,” they explained.

Why the attempt to stifle free expression, and amongst artists of all people? Oh, that’s right; that’s the elitist strategy for dealing with dissent. Crush it, and preserve the monopoly.

We’ve all  become too complacent about the totalitarians in our midst. This needs to change. It starts in the art.

The response of the establishment is very predictable-the frantic attempts to shore up the status quo by means of straw man misrepresentations, futile projections, creepy attempts at personalized pyschodrama. All are efforts to reframe the narrative back into the familiar terrain of the art world bubble. There are elements out there that are very comfortable with the current limited appeal of the contemporary art world. It gives them little kingdoms to rule.

Lots of hearts will be broken trying to defend that dying paradigm though. Art is too important to humanity to leave it in its current state of technocrat mismanagement, and their carefully contrived echo chamber is crumbling.

There’s nothing pedantic about insightful critique and a call for action being stated in firm, direct language. We have been taught to call some objects art that aren’t, by people who are operating out of insidious and base self aggrandizement. A growing wave of people recognize that the current model for the arts is a corrupt wreck, and is ripe for renewal. As we share our discoveries, the wave continues to build.

So let there be manifestos and more. Make statements of intent, editorials, rallying calls, declarations, rants and poems and broadsides. Reformation begins when the scattered elements that perceive the coming way start to recognize their kindred spirits, and begin working towards common goals. Let our manifestos bring us together, and show that out of many, we have become one.

Hear: Charles Thomson reads the Stuckist Manifesto

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