DAILY ART FIX: The Most Significant Hans Holbein Show to Grace a U.S. Museum in 40 Years Is a Rare Chance to Bask in His Splendorous Paintings

Art world links which caught my eye…

Hans Holbein the Younger “Sir Thomas More” (1527)

I can’t imagine how much attention and care must go into transporting precious, fragile artworks around the world. But it can be done, as this amazing show demonstrates.

The Holbein exhibition actually debuted last fall at the Getty in Los Angeles, but that version and the one on view at the Morgan differ in significant ways. Some institutions only agreed to loan certain prized pieces for a short period of time, allowing for inclusion in one, but not both, shows. The Frick, for example, lent Holbein’s portrait of Thomas More to the Morgan, and his painting of Thomas Cromwell to the Getty. Both pieces rank among the portraitist’s best. 

All in all, the exhibition features loans from 10 U.S. institutions and collectors, and 13 from overseas. Roughly 60 pieces spanning the artist’s entire career are included view, 31 paintings among them. Particularly significant gets for the museum include Holbein’s portraits of Erasmus of Rotterdam (circa 1532), A Lady with a Squirrel and a Starling (Anne Lovell?) (circa 1535–40) and Simon George (circa 1535–40). 

Hans Holbein the Younger “Simon George” (ca. 1535–40)

Read the full article here: ARTNET – The Most Significant Hans Holbein Show to Grace a U.S. Museum in 40 Years Is a Rare Chance to Bask in His Splendorous Paintings

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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 painting

Learn more About My Art: Visionary Experience

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

DAILY ART FIX: Hitler in Hell – German Historical Museum acquires George Grosz painting

Art world links which caught my eye…

George Gorsz “Cain or Hitler in Hell” (1944) 

Great German painter George Grosz was not afraid to depict corrupt politicians as grotesques. Although I usually dislike blatant political content in art, this image would have also been deeply personal to the artist. In 2020, a museum obtained the work from Grosz’s family.

Grosz left Germany shortly before Hitler seized power. Labelled “Cultural Bolshevist Number One” by the Nazis, the artist became an American citizen in 1938 after he was stripped of his German citizenship. Cain or Hitler in Hell has remained in his family’s ownership since Grosz painted it, the museum says. It will now be displayed in the museum’s permanent exhibition.

The painting was acquired with funding from the States’ Cultural Foundation and the German government, according to a statement from the German Historical Museum.

Read the full article here: ART NEWSPAPER – Hitler in Hell: German Historical Museum acquires George Grosz painting

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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 painting

Learn more About My Art: Visionary Experience

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

DAILY ART FIX: How Art Restorers Uncover Hidden Details in Artworks

Art world links which caught my eye…

Vermeer's Girl Reading a Letter an at Open Window before and after the restoration

A Big Change in Meaning: Vermeer’s Message was Hidden in ‘Girl Reading a Letter an at Open Window’

Many significant artworks are hundreds of years old. Often those works have been altered by other hands through the years, in efforts to clumsily restore or censor their imagery. Now museums look to analyze the changes, and perhaps correct paintings to their original states.

“Uncovering parts of paintings that have been drawn over is not always as meaningful as in the case of Vermeer,” says Maria Galen, expert for modern art and gallery owner in the western German city of Greven.

“Vermeer used the figure of cupid four times — as a ‘picture-in-picture,'” according to Uta Neidhardt, senior art conservator at the Dresden Museum.

Research and state-of-the-art laboratory tests have unambiguously confirmed that the love god, painted in brown and ochre tones, was covered up by a different hand that also covered up the amorous statement Vermeer originally wanted to make. But the case is not always this clear.

Read the full article here: DW – How art restorers uncover hidden details in artworks

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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 painting

Learn more About My Art: Visionary Experience

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

DAILY ART FIX: Video- Bringing Museum Dioramas to Life

Art world links which caught my eye…

When I was growing up, I was fascinated by the elaborate dinosaur and nature dioramas at the Smithsonian Institute museums in Washington, DC. I returned there several years ago and was horrified that all those compelling, beautiful displays seem to have been removed. However, per this 2012 video, the museum diorama is not a lost art.

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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 painting

Learn more About My Art: Visionary Experience

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

DAILY ART FIX: A 79-Foot Crocheted Labyrinth Hangs from the Ceiling of a Houston Museum

Art world links which caught my eye…

Neto’s Net

Ernesto Neto “SunForceOceanLife” (2021)

Brazillian artist Ernesto Neto…is known for his enormous, fiber-based installations that plunge viewers into a multi-sensory landscape of organic elements: people are encouraged to walk through canals of stretched yarn and grasp the structural weavings, while spicy scents like turmeric and cumin are often diffused throughout the room.

Our cultural institutions present many things as art which are not art. Now a lot of work went into this, and it looks enjoyable, but it’s another example where a museum wants to act like a funhouse as a substitute for presenting deep, compelling artistic experiences.

See the whole article here: COLOSSAL – A 79-Foot Labyrinth Crocheted by Ernesto Neto Hangs from the Ceiling of a Houston Museum

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RICHARD BLEDSOE is a visual story teller; a painter of fables and parables. He received his BFA in Painting from Virginia Commonwealth University. Richard has been an exhibiting artist for over 25 years, in both the United States and internationally. He lives and paints happily in Phoenix, Arizona, with his wife Michele and cat Motorhead. He is the author of Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:

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.

Remodernism is the return of art as a revelation.

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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 painting

Learn more About My Art: Visionary Experience

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

DAILY ART FIX: Books – We Go to the Gallery by Miriam Elia

An earlier version of this article was posted June 3, 2015

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Miriam Elia illustrates a point

In America, older generations than mine grew up with “Dick and Jane” books. The simple words and clean cut imagery of these works were meant as a teaching tool for young readers.

It seems the British version was “Peter and Jane.”  The names might have been different, but the intent was the same: an educational experience for kids, presented in an easily assimilated,  non-threatening format.

As society grew more cynical, succinct statements  like “Look Jane, see Dick” took on an unwholesome, ironic taint. The images now evoke a whole vanished era, a time of earnest naivete and lost innocence.

UK artist and writer Miriam Elia took full advantage of this gentle nostalgic vibe in 2014.  She released “We Go To The Gallery,” appropriating the traditional format associated with Ladybird, the British publisher of children’s  easy reader books. But in Elia’s version, the kids are being subjected to the soul crushing ordeal of viewing contemporary establishment art.

In panel after panel, Elia skewers the nasty nihilistic productions of the decadent cultural elitists.

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Along the way many recognizable conceptual art works are referenced, with the Mummy character spewing the stale turpitude so essential to post modern poseurs. The corruption and presumptions of culture industry hacks make them ripe targets for such mockery.

On her site Elia used to advertise a lecture on “learning principles”:

-Helping children understand there is nothing to understand

-Ensuring the child’s own opinions match those of the arts elite

-Preparing young people for a lifetime of crippling uncertainty

She’s presenting this as a joke. But when I realize that is exactly what our institutions are actively doing for real, I find it less amusing.

When I first discovered this book in 2015, it was unavailable. It seems the traditional publisher didn’t appreciate the mockery and some legal shenanigans ensued. In some of the images on the internet the character names were changed to John and Susan, and I wonder if that wasn’t an effort to bypass some of the copyright concerns. Now, in 2021, We Go the Gallery is back at Amazon; the site explains: “The 2014 limited edition of We Go to the Gallery was threatened with a lawsuit by Penguin UK (owners of the Ladybird imprint), which was withdrawn following a recent change in UK copyright law allowing for parody and satire.”

There is an extreme disconnect between the feebleness of contemporary art and the attitude of sophisticated superiority the elitists display. Irony was once their weapon. Now it is their shield. Soon it will be their tomb.

A generation’s worth of careers, reputations and investments have been built in a dead end, a pitfall of decadence and power lust. Outside of their carefully screened zones of consensus they are meaningless. But we can’t cede the custodianship of our civilization to these perpetrators. It’s time we start invading their enclaves and confronting their failures both as artists and as human beings.

Concise observations like Elia’s, presented with inescapable deadpan humor, will be the death of the current art bubble. Smart people are looking for the exits already.

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RICHARD BLEDSOE is a visual story teller; a painter of fables and parables. He received his BFA in Painting from Virginia Commonwealth University. Richard has been an exhibiting artist for over 25 years, in both the United States and internationally. He lives and paints happily in Phoenix, Arizona, with his wife Michele and cat Motorhead. He is the author of Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization.

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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 painting

Learn more About My Art: Visionary Experience

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

April 10 is Slow Art Day. Establishment Art Can’t Stand Up to Such Scrutiny.

Norman Rockwell “Art Connoisseur”

It’s an often quoted statistic that the average museum goer only spends 30 seconds looking at each artwork they encounter. 

The sad truth is, regarding much of modern and contemporary art, that’s about 27 seconds longer than needed.

The visual arts are in a crisis of relevance, largely due to dire mismanagement by our cultural institutions. Instead of being encouraged as a communion for all, for over a century many art administrators have favored art as a divider, an opportunity to flaunt elitist attitudes. Officially sanctioned art often emphasizes theoretical formal matters and sociological notions designed to exclude, rather than engage, the general public.

The same gurus that managed to marginalize a potent and universal human tradition which is older than agriculture are concerned over their waning influence in the culture. They’ve come up with a great solution: spend MORE time looking at the crappy, off-putting junk they’ve chosen to clutter our museums up with.

This need to reengage is made more urgent than ever due to the massive financial impacts of the Overblown Outbreak, the Woo Hoo Flu. Of course, museum administrators are status seeking and striving players in the New Aristocracy of the Well Connected. They were strident and vocal advocates for fear, shutdowns, and hysteria. Now, after leading the charge for the destruction of society, our cultural institutions are concerned about their fiscal futures. Actions and consequences, how do they work?

So the same places that chased away the populace by presenting pretentious artifice instead of art, and then demanded we all cower under house arrest indefinitely, now want people to turn out, and linger. Globalist mouthpiece the Washington Post reports on the dilemma in their article:

THE WASHINTON POST: The ‘Slow Art’ Movement isn’t Just About Staring Endlessly at Paintings. It’s Also About Accessibility.

“This year’s Slow Art Day — April 10 — comes at a time when museums find themselves in vastly different circumstances. Some are just reopening. Others have been closed for more than a year. Many are facing unprecedented layoffs or embroiled in controversies over diversity. But across the board, they are grappling with questions about who feels welcome in their spaces….

“At Slow Art Day events, museums generally ask visitors to look at five objects for 10 minutes each — enough time, often, to keep them looking a little longer.”

There is evidence abstract art’s 20th century dominance was a part of a CIA psy op, initially meant to increase America’s international prestige in the fight against international communism.  Now that communists are running the Agency, abstract art is yesterday’s news, but it is still revered as a pinnacle of highbrow taste.

Check out the blather of the would-be thought leader who wrote the Post article, waxing poetic about the fine embroidery on the Emperor’s New Clothes:

“After an hour spent in the cosmic, yellow world of Mildred Thompson’s “Magnetic Fields,” I noticed the alarmingly bright canvas subside into alternating tones of restraint and exclamation…”

Mildred Thompson “Magnetic Fields

Would You Willingly Stare at This for an Hour?

It’s just like Nietzsche said: when you stare into the vapid void, the vapid void stares into you. As I described in my 2018 book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:

Nonrepresentational abstract art is a safe space, a compromise for those who wish to appear cultured, while still remaining in compliance with the establishment status quo.

Abstraction underwent a process of gentrification. Once it was the rough slum of the art world. It was considered evidence of the breakdown of the social order captured in random paint. No matter that artists claimed they were seeking to purify their art by removing references to the surrounding world. There was a generalized suspicion abstract artists were covering up a lack of actual artistic skill.

But the elitists seized on the broad dismissal of abstraction as a way to differentiate themselves from the general public they despised. Abstraction furthered their goal of changing art into a rarified status symbol. Removing the demand for recognizable talent from the equation, abstract art enabled an elitist crony system. Art world insiders got to pick and choose which people they acknowledged as “artists”. Abstract art was also in sync with the materialistic Modernist mindset. The rich and powerful moved on abstraction in a big way, renovating the neighborhood, as it were. Savvy upper middle class social climbers followed their lead.

As Modernism died and the high elite moved on to the anti-art of Postmodernism, abstraction remained as a stolid bourgeois default. This is possible because abstract art can succeed in one facet of what art does. It can be used for decoration.

All too often, abstract art fulfills a role much like a throw pillow: merely an accent, just another piece of the décor. Abstract art can be pretty, and even give a nice imitation of intensity, while remaining tame and non-committal.

Abstract art serves as a simulation of art for those who want to create the appearance of having art, without actually partaking in any of its most significant substance. Try to be tasteful, wind up bland.

Real art is many things, but it is not timid.

…Abstraction falls short in art’s most essential function: communication. Abstract artists may claim to pour intensity into undefined colors and shapes, but it’s hard to recognize. One paint smear looks much like another. It’s difficult to discern the intention behind them. It’s challenging and rewarding to convey a sense of the actual into art, however stylized it may be. More importantly, by representing reality, artists tap into the infinitely rich world of symbolism.

A symbol is when something is shown that expands into greater significance which is not literally shown. A symbol demonstrates that life is more than only what appears on the surface. A symbol gives clues towards the underlying mystery of existence…

Humans understand life through stories: patterns of events that illustrate ideas, incarnated by people taking action in a tangible environment. Abstract art misses out on these basic intrigues. Artists and patrons who don’t partake in representational art are losing the most powerful and worthwhile aspects of art. They fail to experience meaning.

There is nothing wrong with enjoying an uncomplicated, pleasant aesthetic experience. But art is capable of delivering so much more. Looking at abstract art, I want to ask: “Is that all you’ve got?” I’d expect a higher standard of performance from human beings, with all of our ingenuity and dexterity.

But the folly of trying to wring significance out of museum-cloistered smears and spatters may soon be a much rarer opportunity. The establishment has new version of empty not-art to virtue signal with: racialist propaganda.

As an example, the Syracuse Everson Museum of Art sold off a notable 1946 work by the notorious king of the abstract expressionists, Jackson Pollock, so they could bankroll diversity impulse buys. I bet the museum’s wiser board members are pissed, but are too afraid to say anything. Everson got $14 million to invest in treasures like these:

Sharif Bey “Protest Shield #2” 2020

Ellen Blalock “Bang Bang You Dead” 2018

These works stick obvious Cultural Marxist tropes where the nuanced and rewarding experience of art should be. They are visual one-liners. Patronizing maneuvers like these will do nothing to address the crisis of relevance in the visual arts. Swapping poorly executed icons of snobbery and obscurity for poorly executed icons of affirmative action and activism is just a new flavor for the same old failures and alienation our cultural institutions have been serving up for decades.

What we are seeing is the death throes of Postmodernism, the exhausted system of manipulation and deceit the elites have been using to rule over us for decades. The great critic Robert Hughes summed up the art experience Postmodernism does not provide in his landmark 1980 series, The Shock of the New. As he purred in his patrician Australian accent:

“In the 45 years I’ve been writing about art, there has been a tragic depreciation in the traditional skills of painting and drawing, the nuts and bolts of the profession…Painting and drawing bring us into a different, a deeper, and more fully realized, relation to the object. We have had a gutful of fast art and fast food. What we need more of is slow art, art that holds time as a vase holds water. Art that grows out of modes of perception and making whose skill and doggedness make you think and feel. Art that isn’t merely sensational, that doesn’t get its message across in ten seconds, that isn’t falsely iconic, that hooks onto something deep running in our natures. In a word, art that is the opposite of mass media.”

As Postmodernism is devoured by its own doublethink and frustration, the replacement philosophy of Remodernism is simmering and growing among the people, looking for new ways to manifest itself. This Invisible War is not over.

By all means, spend time with some real art. You will know the art that resonates with your taste when you see it, and no one can tell you that what you like is wrong. Better than just visiting for ten minutes, fill your home, and your life, with it. My wife and I are both painters, and the walls of our house are covered in original works. It’s like living inside a treasure chest.

Who knows, some probably genuinely love the abstraction and agitprop favored by the self-aggrandizing gentry class. However, probably most people “like” it because they believe it’s what is expected of the social status they aspire to.

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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 painting

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

UPDATE: Welcome Instapundit readers! Please visit other posts for more discussion about the culture.

DAILY ART FIX: Video – Bill Murray Admits A Painting Saved His Life

Art world links which caught my eye…

Bill Murry also made this discovery, as many others have. Art shows beauty to inspire perseverance.

The painting he refers to:

Jules Breton “Song of the Lark”

May be an image of 1 person

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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 painting

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

Elitist Artist Marina Abramovic and Postmodernism’s Diabolical Agenda

Definitely Not a Satanist:

Marina Abramovic

 

“I’m only interested in an art which can change the ideology of society….”

-Marina Abramovic

 

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

I’d like to help educate all those good people who, up until now, have been uninterested, alienated, or even hostile to the efforts of today’s educated creative classes and their deep-pocketed supporters. From what I see, this potential audience of the disengaged is practically everyone in entire world.

What I want this newly attentive audience to appreciate is how correct they were to reject this garbage all along. This involves exposing the corruption festering away in the greedy and debased hearts of the institutions who have forced these toxins on an unwilling culture.

I also like to talk about inspirational figures and exciting new paths I see developing, but that’s for another post. I do see this as a time of renewal and opportunities. The future will be what we make of it, and I see a gathering of forces that ultimately will change the course of civilization. It’s part of what artists do; on an archetypal level we get the news before others, and help spread the word. Big changes are coming.

But the first step of recovery is to admit we have a problem, and the art world is a serious problem indeed.

Postmodernism rejects the combination of disciplined skills and inherent talent that made traditional art such a powerful human achievement. Postmodernism believes reality is shaped by manipulation and control of communications. It’s a form of magical thinking by the elites. They think they can break the endless chains of cause and effect, action and consequences, by stubbornly insisting on getting their way, always.

Marina Abramovic wanted to be an artist. In the 1970s she decided to become an artist not by making art, but by being a “performance artist.” This is when an artiste enacts some kind of public display, usually without the talent, coherence, or skills the traditional performing arts require.

Abramovic’s shtick was stupid rituals: playing with knives,  cavorting around flaming pentagrams, and publicly undergoing drug intoxications. Many later pieces feature feats of endurance, sort of like the one-time trend of flag-pole sitting, but with the added cache of pretentiousness and snobbery. Her risky yet pointless acts took her far in in the debased art world. She made good connections in the years since.

How good? How about right to the pinnacles of political power?

Wikileaked  2015 “Spirit Cooking” Invite for the Podesta Brothers 

 

That’s right, this celebrity artist was intertwined with the super-creepos Tony Podesta, and Hillary Clinton handler John “Skippy” Podesta. Tony Podesta’s “art collection” in particular is such a combination of unwitting confession and blatant horror show, I’ve never been able to finish the piece I started writing describing it.

The referenced “spirit cooking” seems to refer to an earlier piece by Abramovic which features a litany of nasty behaviors. The website Artsy was quick to explain away how any concerns raised over such ideas passing as art in the ruling class must be due to alt-right-nutsy-tinfoil-hatter-hater-fascists:

The email, which referenced Abramović’s 1996 performance piece Spirit Cooking, set off a false conspiracy theory concocted by the alt-right. It grossly misrepresented the email, distorted Abramović’s work, and drew the unsupported conclusion that Abramović, the brothers Podesta, and even Hillary Clinton were in cahoots as Satan-worshipping occultists…
It seems innocent enough: a dinner prepared by a controversial but influential artist whose work has been honored by prominent institutions the world over with large-scale exhibitions, honorary degrees, and more. (Her 2010 mid-career retrospective at MoMA, “The Artist is Present,” was one of the most popular shows the museum has ever mounted.) But members of the alt-right community decided to focus on selective facts about the performance, and in turn make massive “logical” (if that word even applies) jumps…
The ensuing bogus conclusions were inspired in large part by fairly buried documentation of a previously rather unknown 1996 Abramović performance and book of the same name. Unknown, not because Abramović had anything to hide, but because, in the grand scheme of her daring oeuvre, it wasn’t the strongest or by any means the most shocking piece she created. In it, a bespectacled, calm Abramović wrote absurdist phrases that resemble discombobulated, dark self-help mantras on the walls of an entire gallery in pigs blood.
Several of the phrases read:
“Fresh morning urine. Sprinkle over nightmare dreams.”
“With a sharp knife, cut deeply into the middle finger of your left hand. Eat the pain.”
“Mix fresh breast milk with fresh sperm milk. Drink on earthquake nights.”
“Sitting on a copper chair. Comb your hair with a clear quartz crystal brush, until your memory is released.”
Yes, the phrases resemble incantations or recipes for storybook potions. And true, they make little sense. But that’s precisely Abramović’s point. Across her career, she’s tapped into and simultaneously questioned the influence of ritual and religion, highlighting both their potency and, occasionally, their absurdity. Spirit Cooking isn’t a ritual meant to conjure spirits or worship devils—it’s a comment on humanity’s reliance on ritual to organize and legitimize our lives and contain our bodies.

John Podesta Overlaid On Spirit Cooking Instructions

Did He Eat the Pain? 

There’s more upper crust shenanigans Abramovic has been  mixed up in, like the entirely-not-Satanic-at-all mock cannibalism soiree at the Los Angeles Museum of Modern Art in 2011. Punk icon Debbie Harry assisted in butchering a life-size cake replica of herself to serve the A List guests.

Say it Ain’t So Blondie:

Marina Abromovic and Debbie Harry Stab It With their Steely Knives 

Doubts about Abramovic’s infernal intentions have cost her. She has stated despite her denials of serving Lucifer, she fears some nut will do her harm. She even lost a gig with another super-rich creepo, Bill Gates. Microsoft had to pull an ad for her “mixed reality” holographic projection due to her controversial reputation. What a loss. Who wouldn’t want to strap secretive technology onto your head to summon a sinister crone into your presence? It’s like a variation of the plot of Halloween III.

I would never presume to judge the state of someone’s soul. The nature of Abramovic’s beliefs are between her and the Lord. I too am familiar with the often dark places the pursuit of art can lead. It’s something of an occupational hazard for creatives.

However, I can speak plainly on Postmodernism, the destructive deconstructive philosophy had enables cultural institutional support for absurdities and abuses like Abramovic’s body of work. In my 2018 book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, I wrote of the revolting relativism which drives the Postmodern ideology:

Where the Modern age formed a mandate to question everything, the Postmodern age demanded we accept anything. At least that’s what the rhetoric advertises. Like most Postmodern assertions, the claims of impartiality do not stand up to scrutiny; it’s just more camouflage for self-serving attitudes.

The expansion of Western civilization had been nurtured by belief in objective standards, which originated from an underlying order. Whether this order was divine or merely natural was debated, but the acceptance of universal laws was pretty universal. Objectivity meant comprehending reality, which existed beyond our personal preferences. We held these truths to be self-evident.

Postmodernists understand such objective standards are an obstacle to their desire for unaccountable power. Where Modernist skepticism was believed to be a tool to gain deeper understanding, Postmodernists project the notion that all the questioning and differing conclusions means there are no underlying truths.

To the Postmodernist, the cosmos is subjective. There is no reality to know, no morality, no way to gauge effective behavior; there are only opinions. These opinions aren’t even our own, but are determined by whichever group identity we subscribe to. We have no individual responsibility. It’s impossible to judge the quality of anything.

To the Postmodernist, because feelings exist, there can be no such thing as facts.

For people who claim it’s impossible to judge anything, Postmodernists are very judgmental. No culture is better than another, they propose, unless it’s the traditions and accomplishments of Western civilization. The West, which has given rise to the most prosperous and liberated societies in world history, is automatically bad, and needs to be destroyed.

Here the mask comes off. It’s those same old Cultural Marxists at work, lusting after the social control the freedoms of the West denies them.

Postmodernism is a ridiculous conceit. It cannot make anything new, it only creates pale imitations of the achievements of the past. It could only be embraced by pampered people who’ve never really experienced the uncompromising roughness of life. And even then, while advancing this phony philosophy, the Postmodernists have to overlook the glaring hypocrisy of their own behavior versus their words. They are seething with cognitive dissonance.

I have no problem in saying Postmodernism is evil. It’s whole purpose is to switch off the Enlightenment, so the New Aristocracy of the Well Connected can rule over a new dark age. Fortunately, the new force of Remodernism is rising as the spirit of the reconstruction we greatly need.

As far as Marina Abramovic goes, I’ll be praying for her-and for us all, as we endure the chaotic death throes of Postmodernism.

Marina Abramovic

Why Would Anyone Think She Was a Satanist? 

 

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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 painting

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Please send any inquiries to info@remodernamerica.com. Thank you!

Feminist Art Activists the Guerrilla Girls Will Tell You What Kind of Art You Are Allowed to Enjoy

The Guerrilla Girls Go Bananas in 1987 

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“Men rise from one ambition to another: first, they seek to secure themselves against attack, and then they attack others.”

-Niccolo Machiavelli

Not just men. Women are part of that traditional use of “men,” to mean humankind.

Case in point: The Guerrilla Girls.

Few outside of the art bubble know about the monkey shines of the Guerrilla Girls. Briefly, the Guerrilla Girls are a feminist arts activist group formed in 1985. Their shtick is that art, like the rest of Western Civilization, is sexist and needs a do-over. They wear gorilla masks to hide their identities, and adopt the names of female artists of the past. They do so as they claim the art world would retaliate against them for their criticism. The secrecy gimmick emboldens the Girls: “… put a mask on.” suggests Guerrilla Girl spokesperson Not-Really-Frida-Kahlo. “You’ll be surprised what comes out of your mouth.”

The group is still active today; there’s currently an exhibit of their propaganda posters up in the Utah Museum of Contemporary Art.

On their own website, the Girls describe themselves:

The Guerrilla Girls are feminist activist artists. We wear gorilla masks in public and use facts, humor and outrageous visuals to expose gender and ethnic bias as well as corruption in politics, art, film, and pop culture. Our anonymity keeps the focus on the issues, and away from who we might be: we could be anyone and we are everywhere. We believe in an intersectional feminism that fights discrimination and supports human rights for all people and all genders. We undermine the idea of a mainstream narrative by revealing the understory, the subtext, the overlooked, and the downright unfair. We have done hundreds of projects (posters, actions, books, videos, stickers) all over the world. We also do interventions and exhibitions at museums, blasting them on their own walls for their bad behavior and discriminatory practices…

That’s a whole heap of Woke to try and choke down, but it’s a teachable moment, as we are so often told these days. Let’s critique these self-appointed cultural commissars.

What is their point? They claim discrimination has prevented women from being recognized as artists-although they borrow the names of celebrated female artists for their pseudonyms. Contradictions are no obstacles for cultural Marxists; they just double think their way through that stuff.

As far as the type of art placed in museums, they claim there aren’t enough women artists represented, but there are too many female nudes. That’s right, the symbolic significance of the female form as a manifestation of the mystery and beauty of life is problematic and must be suppressed. You perverts need to check your male gaze privilege, it is double plus ungood.

As far as the quality of the contributions the Guerrilla Girls have made to our shared cultural life, here’s Exhibit A: one of their posters. Let it act as conclusive proof not only can the Left not meme, they make lousy art as well.

When Racists Attack: It’s Not Bigotry When They Do It 

Exhibit B, the masks, because nothing screams integrity like claiming you are bravely making a principled stand, while trying to hide yourself as you do it. Trying to advance identity politics with no identification is a cop out. Nevertheless, the Guerrilla Girls are just carrying on a fine tradition activists have followed for decades:

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Birds of a Feather

Exhibit C, it’s absurd to assert these feminist activists would face any consequences if their identities were known. The establishment art world has long been a huge promoter of the Postmodern virtue of  organized and vocal misandry. In the great intersectional faction wars waged for elitist social status, transgressive females attacking the patriarchy were the cutting edge best, they were lionized. Or they used to be, until the new T in the LGBTQSUPERCALIFRAGILISTICEXPIALIDOCIOUS community started stealing their limelight.

Wouldn’t it be ironic if male artists who identified as females started to undermine women’s advances in the arts, just like they are devastating women’s sports? Well, you can’t scramble a deconstructive Marxist omelet without breaking some eggs, hearts, and sanity.

As far as what might actually happen to the artists if the gorilla masks came off, we have some examples.

As I was researching this article, I came across references from multiple sources that two alleged group members had their identities revealed in a court case. And yet none of the articles actually stated what the names were. It was funny. The exposed artists had been memory holed so effectively, you would have thought they were CIA agents planted in the White House to fabricate “whistleblower” claims.

Finally, I found an article the censors had missed, from the New Yorker in 2005:

As the Girls’ dominion began to grow—they incorporated as Guerrilla Girls, Inc., in 1999—tensions developed within the group. After 2000, the Girls weathered what they came to refer to as “the banana split.” A branch of the group devoted to fighting discrimination in the theatre now performs around the country under the name Guerrilla Girls on Tour, and an online enterprise split off, too, calling itself GuerrillaGirlsBroadBand. In October, 2003, on behalf of Guerrilla Girls, Inc., two of the original Girls, “Frida Kahlo” and “Käthe Kollwitz,” filed a federal lawsuit against the on-tour and broadband entities, and against several of their former colleagues, including Gertrude Stein, charging them with, among other things, copyright and trademark infringement and unjust enrichment. What bothered the defendants and the other Girls as much as the lawsuit was the fact that the two plaintiffs, in filing the case, chose to identify themselves by their real names. As litigants, Kahlo and Kollwitz unmasked themselves to become plain old Jerilea Zempel and Erika Rothenberg.

Funny how these righteous progressive warriors got enmeshed in a litigious struggle over money and brand names. Regardless, we can now review creations made these two participants, and consider if there was a patriarchal conspiracy needed to thwart their artistic careers. You be the judge:

 

“Guns and Rosettes,” crocheted tank cozy by Jerilea Zemple

Tanks for Nothing 

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“The Right to Life Boutique” mixed media by Erika Rothenberg 

The Massacre of the Innocents as a Punchline 

These tired examples of leftist dogma are what these tired examples of wannabes produce in their ongoing attempt to replace artistic merit with politics. And yet, despite being outed as Guerrilla Girls, and producing these doubtful results, their careers aren’t suffering. There are pages of listings for exhibits and articles for them. The Guerrilla Girl gimmick paid off.

The Guerrilla Girls are like the feeble media art star Banksy: They get to play at being oppressed rebels while actually doing nothing but advancing the Postmodern establishment’s cherished progressive tropes, and being rewarded for it.

The saddest thing here is how the Guerrilla Girls were ahead of their time; since the 1980s the establishment art world has increasingly relied on conflating art and activism. The Marxist march through the institutions demands the totalitarian approach that everything must be all political, all the time. The airing of grievances is supposed to be the art of our era. A lust for collective retribution is supposed to drown out the lack of artistic merit. And virtue signalling meltdowns, such as the Guerrilla Girls championed, are the new artistic methodology. As I describe in my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:

 

Postmodernists compensate for the lack of a genuine inner life by showing off what they think is expected of them. Postmodernists pretend to feel whatever their situational ethics informs them is the politically correct way to feel. Their stance is perpetual posturing.

In this delusional state, they misname their ravenous appetite for domination as “pragmatism.” Their version of pragmatism basically means they get their way, always. Yet their position is essentially one of weakness. Having no substance of their own, they are reduced to living vampire-like, trying to suck resources and obedience out of society, while offering nothing useful in return.

It’s hard to get normal people to cooperate with this hunger, since Postmodernists are fundamentally bottomless maws in desperate need of validation. There is no end to their demands. But the Postmodernists have a strategy for petty tyranny so simple it’s known to two year olds; they whip their unregulated emotions into what they hope is an intimidating frenzy.

Adrift in a world unstructured except by their own unearned sense of superiority, Postmodernists know nothing about impulse control, or respect for others. Nothing gets these special snowflakes more offended than a challenge to their imaginary entitlement and arbitrary righteousness. Look at college campuses these days for many, many examples of this behavior. There’s no true passion or commitment behind these tantrums; they’re putting on a show as a crude attempt at manipulation. They seek justification for the sadistic pleasure of lashing out blindly. Never believe whatever the stated social justice cause of the moment is supposed to be about; it’s just a hypocritical excuse to act barbaric.

So what’s next for the Guerrilla Girls, apart from the usual laudatory museum and gallery exhibits, academic fawning, international speaking gigs, and media tongue baths?

Their website volunteers: “More creative complaining!! More interventions!! More resistance!!”

Nothing about art, of course. It’s all about power, the highest aspiration of the failing Postmodern elites.

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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!