ARTICLE: A Call to Unionize Exposes the Art World’s Sense of Entitlement

Manhattan’s New Museum: A Precarious Pile Up Over Unionized Staff 

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“My problem with unions is they breed mediocrity.”

-Kevin O’Leary, Canadian Businessman 

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In today’s corrupt and isolated contemporary art world, mediocrity might be an improvement. One overpriced elitist cloister is about to have a chance to find out.

The New Museum is located in Manhattan. Founded in 1977, the New Museum rejects the whole antiquated “museum as a venue for significant works of high quality which have withstood the test of time” concept. Instead,  “New art, new ideas,” is their oh-so-bold mission statement.

A quick review of their history shows just how much they fail to deliver on this simply stated goal. Postmodernism’s predictable style, a fake approximation of culture, means the New Museum is infested with transitory, unskilled installations and pointless performances, all propped up with convoluted rhetoric.

Some exhibit “highlights:”

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But is it Art? 

 

It’s amazing such twaddle finds a foothold anywhere, let alone in the pricey environs of New York City. But the establishment’s ongoing efforts to subvert and destroy Western Civilization are very well subsidized. In fact, the New Museum is undergoing a major upgrade: $85 million to double its exhibit space, so it can feature twice as many transitory, unskilled installations and pointless performances. But wait: it will also allow them to expand “more experimental programs like its business incubator and the urban-policy think tank that it runs.” It’s the Postmodern mandate that every enterprise just serves as a front for social engineering activism, and the arts are particularly scarred by that presumption.

However, discontent is brewing in the ranks of the establishment’s ongoing psychological warfare against the populace. Some Millennials felt they weren’t receiving the Special Snowflake pay grade and working conditions they want.

Artnet reports:

“…current and former museum employees who spoke to artnet News often complained that entry-level salaries are unsustainable—around $35,000 to start—and that some departments discourage workers from accurately reporting their hours in order to avoid paying them overtime. A spokesman for the museum says it offers competitive salaries for its location and size. The spokesman also said the median salary for full-time employees who were eligible for the union vote is $52,000.

“According to three current and former staffers, turnover rates are high and the museum can take months to refill positions, leaving the remaining staffers to do multiple jobs on top of their own.

“’The low salaries breed turnover, so it’s just this constant flow of people that makes everyone burned out,’ said one former museum employee who asked to remain anonymous. ‘I took the job because I would’ve chopped my arm off to work there at the time, but it just wasn’t sustainable. I didn’t have a safety net, no support from my parents. A lot of people get to the point where they’re like, ‘I’m working a job meant for rich people.’

“Another concern is that there is virtually no consistent, designated venue to air professional problems…I think the general sense is there’s not much of an HR structure or grievance system in place,” Kopel says.

“Many of these issues are emblematic of problems that staff at other institutions are grappling with: low pay, long hours, and the absence of a clear reporting structure. But some employees say the environment at the New Museum is uniquely challenging compared to other places they’ve worked. What’s more, the museum—founded by Marcia Tucker in 1977 after she was fired from the Whitney Museum—has a reputation for forward-thinking exhibitions and programs.

“’It’s hard when you get hired by an institution with such progressive rhetoric and you don’t have a voice,” said one former employee. “The New Museum sets the standard for a lot of institutions, and they are setting a lower standard.’”

Art Critique chanted in support with an editorial piece, “Museum Workers in New York City Fight Back”:

“Art institutions need to take care of their workers plagued by high-cost city living, student debt, and hopes of a stable financial situation that allows them to work at an organization they are passionate about.”

 

Translation: This is not the glamorous, prestigious, and well-compensated future my Masters Degree in Intersectional Feminist Ceramics should rate!

These art museum workers are still stuck in their university mentalities. It’s probably because they switched one form of isolated elitist playpen for another; they expect to retain their inmates-run-the- asylum habits. Their career path seems to involve endlessly rehashing the contents of sociology term papers and asserting that is productivity. Observe some of their own quotes  on their inane exhibitions, which are uniformly dedicated to various leftist tropes and NPC talking points that have been stale for 50+ years. .

 

“…dedicated to providing pro-bono legal representation to undocumented immigrants and their families facing deportation…

The work…touches on urgent themes such as migration and displacement. Addressing trauma in the US as a consequence of the country’s foreign policy actions…

…ongoing explorations of the complexity of collectivity and the human and social consequences of imperialist ventures…

…reflect on racism and power, migration and national identity, and the layers of historical memory that comprise our sense of community and belonging…”

 

Since the wage slaves feel they are not being justly rewarded for lolling around in an institute that serves up such incoherent  academic gobbledygook, they get to indulge in another collegiate pastime: organizing resistance and socking it to The Man. Some of the lower caste drones of the collectivist hive mind decided they weren’t getting enough of a kickback on the culture racket. So they decided to bring in some union muscle.

Because working in an elitist pretend-museum is just like working on the line building Detroit rolling iron, the New Museum pussy hat brigades and soy boys voted to  join up with the United Auto Workers.

One of These Things is Not Like the Other 

Top: Staff at the New Museum

Bottom: United Auto Workers Strike

 

Another whole article could be written about how the management of the New Museum reacted. As true progressives you would expect them to be all in support of bringing in hired gun extortionist goons to explain how to better spread the museum’s wealth around.

 

Nice cutting-edge creative space facility you got ‘ere…

Be a shame if anything ‘appened to it…

 

Museum management did try to understand the hot water they were getting into by contacting a firm with a reputation for defeating union initiatives. The art world scolding and shaming was so intense the New Museum had to disavow any attempt to explain why a union might not work out.  A spokesperson groveled:

 

 “The New Museum is a relatively small institution with a strong mission—we have always worked closely and collaboratively. We don’t believe unionization is the best way to preserve what is special about our culture or advance change. We value the creativity and input of the entire staff, and we will do everything we can to maintain our distinctiveness.”

Good luck to the staff of the New Museum in getting a union to produce Manhattan sized results for a gaggle of expendable specialists in a useless boutique endeavor. At least the New Museum didn’t take the route renowned art world charlatan Jeff Koons did in 2016:

“Jeff Koons Lays Off Over a Dozen Staffers After They Tried to Unionize”

In a way, artsy Postmodern types may just make perfect union members. As I describe in my book, Remodern America: How the Renewal of the Arts will Change the Course of Western Civilization:

“Postmodernists are parasitic. They are so other-directed, they can’t lead an independent existence. Postmodernists rely on a mob mentality to support and reinforce their irrational ideas and behaviors. As their intellects cling to group identification instead of independent thought, and their stunted emotions merely mirror groupthink expectations, Postmodernists are primed to sell their souls to fit in. They deny there is any such thing as a soul anyway, so it’s easy to give it up. The price doesn’t even need to be high. Postmodernism is a poverty-stricken ideology, so its practitioners have meager expectations. Most will never live the jet-setting lifestyle of their globalist masters. These influencers don’t have to operate within the perimeters they inflict on others. Postmodernists strive for the opportunity to bask in the reflected glory of their controllers.

“As Postmodernists are in thrall to the limiting collectivist fantasies of Marxism, it makes them anxious followers. They want to be in with the in-crowd, part of what they are assured is the inevitable winning side of history. It is the dream of every progressive to join the most favored status clique, where their ilk gets to call the shots. This conceit plays into the leftist assumption that in the utopia to come, some animals will be more equal than others, as Orwell predicted. They acknowledge no God that created all men equal. Leftwing rhetoric of fairness for all is just hype designed to deceive. Once triumphant, the radicals will punish their enemies and reward their friends, just like Postmodernist President Barack Obama urged them to do. Postmodern minions want to make sure they are in good with these brutal inquisitors. Postmodernists will commit acts of senselessness and violence when top-down social pressure is applied.”

 

The Contagion Spreads: Protests at the Museum of Modern Art 

 

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

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AGAIN WITH THE FECES: THE ESTABLISHMENT ART WORLD SOILS ITS CREDIBILITY

Forget Jumping the Shark: The Establishment Art World Has Leapt into the Lavatory 

 

I get so tired of covering the art world’s pathological fixations on our biological secretions. But I also believe it’s important to expose what these sickos are up to.

It started in 1917, with the submission of a urinal as a sculpture to an art show. Con artist Marcel Duchamp ended up stealing the credit for it from a possibly schizophrenic lady acquaintance of his.

fountain

The Icon of Postmodernism 

 

Ever since then, the art world water closet has been a crowded place.

We’ve been treated to Piero Manzoni’s 1961 series “Artist’s Shit,” which is supposedly his canned crap.

Shit-canned 

In 1987 hack photographer Andres Serrano hit a blasphemous bonanza when he submerged a crucifix into a jar of urine. The art world lionized him because he upset those deplorable Jesus people.

 

Andres Serrano “Piss Christ”  There goes your taxpayer funding

In 2010 Marcel Walldorf won prizes with a sculpture of a peeing policewoman. Way to sock it to the Man! Or, er, the Woman, in this case.

No Relief From Art World Potty Mania

 

And in 2016 the prestigious Guggenheim Museum installed an actual functioning golden toilet estimated to be worth $2.5 million dollars. It was a piece credited to Maurizio Cattelan, called “America,” of course. Because that is what the people who make curatorial choices for the Guggenheim think about our country.

Golden Showers 

I could go on, and on, and on, with these contemporary art examples, as well as other icky oozes like spit and sperm. The so-called sophisticates that dictate our cultural identity seem to have a real hang up with scatology. But a good stopping point seems to be at the Museum Boijmans van Beuningen in Rotterdam, the Netherlands; the final word in excrement excitement. The pictures speak for themselves.

 

The End of Postmodernism 

The museum actually commissioned the Vienna-based art collective Gelatin to make this. They spent 6 months on it. Seriously.

“The shit as we present it is a sculptural subject, it’s not a joke,” Wolfgang Gantner, one of the four artists making up the collective, told Euronews.

We’ll be the judge of that.

For an extra level of insanity, patrons are expected to wear nudist costumes while they look over the leavings:

Peak Art World: Try a Little Trendy Gender Dysphoria While You Look at Shit  

Where Does the Art Exhibit End, and the Child Endangerment Begin? 

Because I understand what art can do for people, it makes me heartsick to see this abuse perpetrated by the elitists.

This is not art. It’s psychological warfare.

In my upcoming book, “Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization,” I identify how grotesque displays like this literal shit show demonstrate the ongoing collapse of the Postmodern globalist cabal, from the vantage point of the United States:

 

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

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

The great news is, here in the United States, we are our own barbarians.

Understand the current upper echelons are predominately not representative of the American way of life. They’ve been compromised by Postmodern delusions about their own omnipotence, and it’s ruined them. They should have studied Classical literature. It clearly warns about the perils of hubris.

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

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

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

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

COMMENTARY: How Obama’s Portrait Reveals the Failures of the Elitist Art World

In the Weeds: Kehinde Wiley’s Obama Portrait 

.As the United States clips along at the speed of Trump, the news cycle races by in a dizzying blur. Events rapidly recede without any time for real analysis. Such was the case for the big reveal of the official portraits of former President Barack Obama and First Lady Michelle Obama. Although it just happened on February 12, it already feels like ancient history. Yet this regrettable image is going to be cluttering up the National Portrait Gallery forever, so it’s worth understanding just what the tax payers had to subsidize.

The Michelle Obama portrait is just sad. A tentative, pallid non-likeness. The apparatchiks at the museum assure us that it is so popular it had to be moved to a larger display space. Perhaps a pilgrimage to it gives the same solace that some progressives get from the plastic Obama dolls they keep stashed in their purses. The artist who made this painting just seems to have attempted a task above their pay grade, and fell short. It happens.

It is the portrait of Barack that displays the corruption of the establishment. It’s a Postmodern mockery. As such it may be a fitting representation for Obama, but that doesn’t make it good art.

What makes this piece so awful? Let us count the ways.

Con Artist 

Kehinde Wiley

American artist Andy Warhol set the tone back in the 1960s by reducing his contribution to his own “art” to being a celebrity spokesmodel for a brand of products he did not produce himself. That inane example has become the ideal for the untalented Postmodern artists, like Kehinde Wiley.

Even when he made his pieces himself, Wiley did a form of artistic cheating, using a prevalent practice which undermines the integrity of the act. He took photographs and used a projector to trace them onto the canvas. Artists who use this shortcut undercut themselves and their audience by doing a paint-by-numbers routine to create their works. These artists have reduced themselves to a mere cog in a mechanical reproduction process, not creating, but taking dictation from their gadgets. They let their tools make their discoveries for them. It is an inferior mode of creation. Perhaps it explains some of the compositional errors in the piece, like the 6 fingers on the left hand, or the really awkward perspective on the chair. The projector must have gotten bumped.

As exposed by the Gateway Pundit, the Obama portrait even fell back on copy/paste for the backdrop; the same image was tiled repeatedly.

The lack of engagement comes through in the pieces. as the New York Times noted back in 2008, “…the Conceptual rationale behind Mr. Wiley’s paintings has tended to overpower their visual presence, which helps reduce them to illustrations. Like Norman Rockwell’s paintings they look better in reproduction than in reality.”

But Wiley can’t even be bothered to put in that much effort anymore.

.Outsourced to Forced Labor 

Beijing Studio: Dabbed more paint onto his clothes than the actual canvases 

.Wiley doesn’t even make his own paintings. Does he set up workshops in distressed American inner cities, where he could cultivate apprentices drawn from the disadvantaged youths he claims to honor?  No. He has a studio in worker’s paradise Beijing, China, along with other locations described as “global.” There he can pay cut rate salaries for assembly line production.

Wiley employs various strategies to defuse criticism about the practice. Sometimes he tries to get folksy:

“There’s nothing new about artists using assistants—everyone from Michelangelo to Jeff Koons has employed teams of helpers, with varying degrees of irony and pride—but Wiley gets uncomfortable discussing the subject. ‘I’m sensitive to it,’ he says. When I first arrived at his Beijing studio, the assistants had left, and he made me delete the iPhone snapshots I’d taken of the empty space. It’s not that he wants people to believe every brushstroke is his, he says. That they aren’t is public ­knowledge. It’s just a question of boundaries. “I don’t want you to know every aspect of where my hand starts and ends, or how many layers go underneath the skin, or how I got that glow to happen,’ he says. ‘It’s the secret sauce! Get out of my kitchen!’”

Sometimes he wants to brush it off with the jaded airs of an insider:

“‘The sentiments about authenticity in the public eye,’ Wiley tells me, with conversational casualness and an air of mild fatigue over having, once again, to explain this, ‘the discomfort with a large-scale art practice, comes from a myth in an artistic process that never existed. Rubens, Michelangelo: Both had large studios with many assistants. There is a long line of artists who work with other artists to realize a larger vision than is possible with one hand. Education in art history taught me this, as did being steeped in the reality of painting. My interest is in completing an image that is spectacular beyond belief. My fidelity is to the image and the art and not to the bragging rights of making every stroke on every flower. I’m realistic. It’s not romantic, but that romance never existed.'”

Conveniently left out of his analogy are all the artists who did indeed actually make their own art. Postmodern operators like to refer to workshops of the Old Masters as a precedent. It takes a lot of arrogance to claim any similarities between the incredible discipline and vision of renowned artists who have endured the test of time, and the second-rate novelties churned out now on behalf of stilted hacks. These days, all a Postmodern spokesmodel really needs to do is push the appropriate politically correct buttons.

.Vicious Virtue signalling

Classical 

Before the Presidential portrait, one of the things Wiley was known for were variations on an image from apocryphal Book of Judith. In that story a woman saves Israel by seducing and assassinating an invading king; it was the subject of many Renaissance artworks. Wiley (or his helpers) depicted this scene as a black woman holding the decapitated head of a white woman. “It’s sort of a play on the ‘kill whitey’ thing,” Wiley explained. How playful! The privileged insider art world sure is getting played, falling all over themselves to show how woke they are for racial violence.

.Sperm

Wiley gets additional virtue status points as a gay man. You might think there was no connection between which set of genitals an artist enjoys and the quality of their work, but the establishment art world knows better than you. Wiley makes leering references to his preferences in his works. The persistent rumors about his casting couch demands on his models aren’t relevant here. But Wiley does provide other hints.

When the Obama portrait was unveiled many made an observation that was dismissed as a conspiracy theory: that Barack had a big old sperm on his forehead.

Photo Credit: Vigilant Citizen 

The media denials were intense. “Wackadoodle,” said the Washington City Paper. “False,” and somehow racist, claimed Snopes. A picture circulated which claimed to prove it’s just an accurate rendering, but which doesn’t seem to support that point at all. The head of the alleged sperm is nowhere to be seen in the photo, and that’s what makes all the difference. But who are you going to believe, the media or your lying eyes?

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It becomes even more evident when research shows sperm is a Wiley painting trademark. It’s sort of like a Hitchcock cameo, but with semen. Back when the Village Voice didn’t have to disavow the allusion, they positively gloated over it:

“Wiley has painted free-floating spermatozoa across the canvas. The same goes for the bear of a fellow in Napoleon Leading the Army Over the Alps, which could be subtitled “(Through a Light Ejaculate Mist).’ And if the painted tadpoles aren’t sufficiently suggestive, several of the gilded frames contain sperm reliefs of their own. (Talk about painting outside the lines.)”

 

Wiley: Napoleon is coming over the Alps 

Who is the wackadoodle now?

Establishmentile Dysfunction

There’s more that could be said about this debacle, but enough is enough for now. In my upcoming book, Remodern America: How the Renewal of the Arts Will Change the Course of Western  Civilization, remedies are presented for the failures of elitist culture. As stated in the Remodern America Manifesto:

“Art is a more enduring and vital human experience than the power games of a greedy and fraudulent ruling class. The managers crashed the culture in pursuit of their agenda. They defend their usurped authority and privileges with doublethink, misdirection, and intimidation. Their time has run out. Reality is crashing back through their carefully constructed facades, and a time of reckoning has come. Enduring changes start in the arts. Remodernism defeats Postmodern desecration.”

 

 

 

 

 

ARTICLE: Establishment Art Institutions Aren’t Worth a Bucket of Spit, But They Will Subsidize One

Ragnar Kjartansson: Spitting Mad 

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Pity the poor Hirshhorn Museum. They occupy a prime piece of real estate, right on the National Mall in the wretched hive of scum and villainy, Washington, DC. And yet, as a museum dedicated to contemporary art, the institute just doesn’t seem to get much love or respect. I feel sorry for the uranium magnate Joseph Hirshhorn, who originally  endowed the collection. Little did he know how radioactive his legacy would become.

An article about a recent acquisition the Hirshhorn made may give some insight as to why they lack esteem. Smithsonian.com is eager to explain it in this article:“Why the Artist Ragnar Kjartansson Asked his Mother to Spit On Him.”

Mind you, they don’t give the real answer, which would be an ambitious artist is performing the obligatory pandering required for advancement under the current corrupt Postmodern junta that dominate the arts. Rather they let the artist speak for himself: ““Art is so serious, it’s too serious to be serious about,” Kjartansson informs us.

Well okay then. Thanks for clearing that up. A trite little statement of doublethink nonsense to justify the non-art offered up.

The article does us the favor of explaining the video work:

In the filmed performance piece… a 24-year-old Kjartansson, still in art school, stands in a blue dress shirt as his mother, recognized in their native Iceland as the accomplished actress Guðrún Ásmundsdóttir, hauls off and spits on him.

There is silence, and a dramatic pause in which they exchange gazes, and she does so again and again.

Every five years since the first video in 2000, Kjartansson has repeated the action in the same location—before a bookshelf—and added on to the film. When the fifth iteration is shot in 2020, it will come to the Hirshhorn as well, as will all future versions.

A new segment of this debased piece of pretentiousness coming in 2020? We can hardly wait.

The article also has a link to the video-at least 6 minutes of it. The entire epic currently runs 20 minutes.

I have not watched the video. Why would I? Why would anyone?

Having it linked here also raises the interesting question of how a museum can “acquisition” something available as a Youtube link. Perhaps they’ve gotten hold of the director’s cut, featuring deleted scenes and an alternative ending. The article does note there are no immediate plans to put the “piece” on display, so at least we’ve got that going for us.

What is so discouraging is imagining the amount of behind the scenes meetings, discussions, budget planning, and project management that went on to facilitate bringing this loogie into the collection of a major American museum. It’s sad the way the left has as destroyed the credibility of our country’s enduring institutions. The arts fell long ago; currently the activists are working on NFL football. It can all be summed up by the timeless tweet by Iowahawk:

 

The partisans we are talking about here aren’t capable of generating something new. Their model is like a virus: infect a host and reduce it to a virus replicating factory, until the host withers away. Move on to the next host, and repeat.

We live in the dying days of the futile Postmodern campaign to destroy the timeless human tradition of art making. Postmodernists are so saturated in groupthink they can’t tell the difference between producing art and producing saliva. They are so deep in the echo chamber they don’t hear how, outside their bubble, indifference is shifting into impatience, soon to grow into rage.

It doesn’t how many out of touch museums embrace this stuff. Establishment efforts failed because humanity instinctively rejects the absurd assertions coming out of elitist academia and art industry bureaucracies. We aren’t buying the cultural Marxism they’re hawking.

They hate us and they are lying to us, and no amount of puff pieces claiming reality and make-believe are collapsing in on each other can disguise their contempt. It’s not a video of a mother spitting on an artist the Hirshhorn has obtained. It’s evidence our incompetent, entrenched culture industries don’t even bother to hide their disdain anymore. They are spitting on Western Civilization, art, the family, civil society, and all of us.

“It is quite clear to anyone of an uncluttered mental disposition that what is now put forward, quite seriously, as art by the ruling elite, is proof that a seemingly rational development of a body of ideas has gone seriously awry.”

The Remodernism Manifesto

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

An Artist Against the NEA, Part 2: Subsidizing the Rich and the Art of Breaking Windows

Rene Magritte, an artist who understood the correct use of fallacies

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The hive mind of Washington, DC is all abuzz these days. A big part of their collective angst hovers around the idea that this time the Federal government is expected to produce an actual budget. It will the first one in years. Needless to say, everyone in positions of authority  wants to make sure an allotment of sweet taxpayer honey keeps flowing their way.

Whenever the topic turns to reining in out of control spending, the National Endowment for the Arts comes up. It seems like a reasonable cut to consider, since there are much more urgent situations which need funding. But to culture industry careerists, that’s just crazy talk.

Of course all the organizations who are currently latched onto that particular public teat feel entitled to remain there. Just ask them, they’ll tell you.Or just read some of the hundreds of op-eds that have popped up around the country as a lobbying effort. Most advance the notion that without the bureaucratic benevolence of Uncle Sugar, redistributor of wealth, there would not be a single spark of creativity left in America.

Most of the articles follow the same template. They plead that its a given that arts organizations are poverty stricken, that arts spending boosts the economy, that support is needed while artists produce quality culture enriching works. The NEA is desperately needed for these reasons.

What is the reality? Postmodern art worker types like to pretend there is no such thing as reality, that the world operates based on just what those in power decree. Cultural elitists behave as if their virtue signalling and theorizing acts as a shield against universal truths such as cause and effect. Accountability is something to be deconstructed and explained away. However, there are many questions to ask about the default assumptions of their assertions.

For a different perspective about need, this headline pretty much sums it up: Feds Use Arts Funding to Subsidize Billion-Dollar Nonprofits. The article shares the findings of watchdog group Openthebooks.com, and summarizes their findings about the NEA’s umbrella group: “The National Foundation on the Arts and Humanities issued $20.5 million in grants to ‘asset-rich’ nonprofit groups with assets of $1 billion or more in 2016 alone.”

For instance, Robert Redford’s Sundance Institute has received millions of dollars in grants for their swanky ski town film festival. And what is their estimated annual revenue from the event? $37 million.

Robert Redford: Like a Rhinestone Rent-Seeker

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New York City’s Metropolitan Museum of Art is probably the top example. Since 2009 they have been awarded $1.22 million in grants and contracts from the NFA-H. And what are the Metropolitian’s assets estimated to be? Four billion dollars. That is billion with a B. There are other examples of the payola changing hands in the full article.

The Met: 4 Billion is not enough, they need handouts

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Why is taxpayer money being funneled to organizations that could easily be self-sustaining? Observation suggests it’s all part of the perks of the New Aristocracy of the Well Connected. It’s one of the ways the privileged class flatter each other, generously  passing out other people’s money. Would these powerhouse entities cease functioning without receiving kickbacks from the public treasury?

Of course not all arts organizations are stuffed with money like those insider superstars. What about the more local community efforts? How will artists be able to exist without qualifying for subsidies?

The pitfalls of those gambits are covered well in an insightful article from PJ Media’s John Ellis: The National Endowment for the Arts is Bad for Artists and Should be Defunded. He states:

“…It’s way past time to defund and shutter the National Endowment for the Arts.

“From the organization’s website, ‘The National Endowment for the Arts is an independent federal agency that funds, promotes, and strengthens the creative capacity of our communities by providing all Americans with diverse opportunities for arts participation.’

“That mission statement prompts a few questions. (Well, the first one isn’t so much a question as an eye-rolling musing.): 1. Yeah, it’s easy to fund things with other people’s money, NEA. 2. How does creating a false market for art promote and strengthen creative capacity? 3. All Americans? Really, NEA? Are you sure that ‘all Americans’ have the requisite skills to participate in the arts?”

Ellis addresses the fallacies at the heart of the economic stimulation and quality results outcome arguments by referring to observations about human nature, and a well known flaw in logic.

“The first question/eye-rolling musing is countered by artists and those who hold the arts community’s purse strings that arts organizations provide an economic engine to communities (by the way, I could write a whole other article about the absurd, silly, politics that I saw first hand while I worked directly for a specific arts funding organization—and by ‘funding,’ of course, I mean that they took taxpayers dollars and with a kindergartener level of pettiness disbursed that stolen taxed money amongst their friends). The NEA and their supporters will trot out research about how many dollars are added to local economies due to things like theatres, symphonies, and museums. Of course, as almost every person with at least half a semester of Economics under their belt is screaming, the NEA’s argument embraces the broken window fallacy.

“The economic stimulus felt and supposedly generated by the arts community comes at the expense of other markets. Chances are, the tax dollars given to arts organizations would have been more effectively used elsewhere to benefit local economies. All that money pumped into the local economy by arts organizations would have been pumped into the economy anyway. The taxpayers would have decided which markets to support. And those markets would’ve naturally grown, strengthened, and added jobs and wealth to the economy. The National Endowment for the Arts model artificially props up mostly unwanted markets by using tax dollars that get funneled through inefficient and wasteful bureaucracies.

“Segueing into the second question, artificially propping up an unwanted market does not benefit the arts. It does benefit the people who work in the NEA office and the many local organizations that help funnel taxpayers’ money to arts organizations, though. What it does to the arts is create a marketplace that supports bad art. If you don’t believe me, buy tickets to your local community theatre’s production of Seussical the Musical. Besides the money you spent on the ticket, your tax dollars helped pay for that crap. In other words, even if you don’t buy a ticket, your hard-earned money is still being used to stoke the egos and fill the free time of wanna-be actors and directors.”

You oughta be thankful, a whole heaping lot. For the people and places you’re lucky you’re not.

Ellis raises very valid concerns about what exactly is coming out as the result of these appropriated funds.

Now personally, I’m an old punk rocker. Punk’s creeds of individuality, distrust of authority, and sincere belief in the transformative power of participating in your own culture are ideas as American as baseball.  I learned early to value passionate intensity in art, which can lead to less than polished accomplishments. I’m inspired by all sorts of creative expression by unconventionally talented individuals. My paintings tend to be dark and strange.

Richard Bledsoe “The Collective” acrylic on canvas 30″ x 30″

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My music collection is filled with albums that could strike terror into lots of people.

Face up to the Butthole Surfers

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In my time I’ve attended DIY art and music happenings in places ranging from bowling alleys to Chinese restaurants, from student living rooms to trailers in isolated desert communities. I’ve organized many events myself, looking to give artists a chance to share their creativity. A key trait linking all of these shows is the Y in DIY: do it yourself. Make it happen, with none of the strings that come attached from being reduced to a supplicant for crumbs from the tables of the powerful. If the effort is genuine, it will find its audience.

The hey-kids-lets-put-on-a-show exuberance that drives “amateur” dedication to the arts is at the core of the art movement Remodernism, This grassroots renewal of our culture is rising to destroy the elitist mind games of Postmodernism.The NEA is doing nothing but sustaining the current corrupted model, where to be deemed worthy you must conform to the establishment’s agenda.

Artists with integrity recognize that far from promoting the arts, a compromised, insular organization like the NEA is actually shackling free expression to their ideological biases. The true future of the arts is going to be determined by those who do not submit their productions for official approval. Art is about so much more than acting as a cog in the crony combine.

An Artist Against the NEA, Part 1: The Case of Karen Finley

Karen Finley: This is what you get when art and politics mix

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“All within the state, nothing outside the state, nothing against the state.”

-Benito Mussolini

The wailing commenced as soon as the numbers appeared. After decades of threatening noises from concerned conservatives and fiscal hawks, a Federal government budget was produced that eliminated funding for the National Endowment for the Arts (NEA).

As an American artist, I think this is a wonderful development, long overdue.

Defenders of the NEA make the usual accusations, conflating being anti-government intervention in the arts with being anti-art. They justify the expense by pointing out how little the expenditures are out of a budget now reckoned in trillions. And they make the great leap to define withholding state funding of the arts as censorship. All of these assertions dodge accountability for results. How has the NEA improved the artistic life of America?

The NEA was the creation of the corrupt President Lydon Johnson in 1965. One quick measure of the program’s success is whether the visual arts are in better condition now than they were then.

On the contrary, contemporary art is undergoing a crisis of relevance, with hardly any interest and engagement from the public. I would suggest it’s the top-down direction of arts development encouraged by the NEA and its fellow traveler, grant-giving foundations which have helped cause this great alienation. Far from encouraging a vital, thriving culture in the United States, the handout and non-profit mentality is propping up a sick and decaying model of art as an elitist virtue signalling endeavor.

Make no mistake, the cultural institutions supported by such programs hold the values and founding principles of America in contempt. It’s key for acceptance. The long march was so successful that the entry to the establishment now requires allegiance with globalism, Post Modern relativism, and Cultural Marxist deconstruction. It’s the partisans of these ideologies that get the funding and support.

The art world has been warped by the priorities of the subsidizers. If you want their checks, better get on board with their agendas. Leftists have to taint everything with their politics, their own petty little version of God, and their fantasy of the all powerful state as a benefit dispensing Utopia. There’s no way I want anyone subject to such delusions in charge of recognizing artistic achievement.

Many years ago, I had my own special encounter with a NEA star, a typical example of what elitist culture has to offer.

She’s nothing but a historical footnote now, but in the early 1990s performer Karen Finley was big news. She was one of the so-called NEA Four. These controversial artists were up for the federal agency National Endowment for the Arts grants, and came under intense political criticism. The artists had their grants vetoed, although they eventually won a court case about it, and got paid.

However, as a result of the firestorm the NEA ultimately stopped funding individual artists. At least Finley can take credit for helping end that particular abuse of tax payer resources. But at the time I encountered her all the legal maneuverings were still in flux. When she came to speak in Richmond, at Virginia Commonwealth University’s  sculpture building, Finley was still notorious as a casualty of the Culture War.

Finley is a performance artist. Her claim to fame was hooting obscenities while smearing her naked body with yams. I wish this was a joke or an exaggeration, but it isn’t. Of course it was all about gender roles and social critique and whatnot, so that made it Serious Art.

We students didn’t know what to expect. Would we be spattered with tubers? Should we wear raincoats like we were going to see a Gallagher routine? Anticipation ran high.

As it turns out Finley kept her clothes on, and no vegetables were applied anywhere unusual. I suppose a group of mere students didn’t warrant the full Karen Finley experience.

She addressed the standing crowd gathered around her from a podium. I can’t tell you anything she actually said, as nothing she said was memorable. But we weren’t there for an insightful or intelligent lecture, we were there for a Serious Art Performance. And after her remarks, still standing behind her podium, Finley let us have it.

A Serious Art Performance, to Karen Finley, apparently meant yodeling, rolling her eyes and whipping her head around for a couple of minutes.

It was an annoying and mannered display. I felt the burning sensation of folly receiving the institutional stamp of approval. If that was art, then I’ve seen plenty of schizophrenic meth addicts hanging around convenience stores dumpsters that must be undiscovered geniuses.

Coming from her, it was all so phony. Her actions didn’t seem passionate or intense at all. It was clearly a ploy, a unconvincing simulation of being in a shamanistic frenzy.

My problem with Karen Finley’s art wasn’t because it was immoral; it was because it was stupid. There wasn’t an issue with obscenity, the issue was the failure to present a genuine and creditable work of art. And this is representative of the cultural experience our Washington elites wanted to throw money at.

As a bit of compensation for the dumb histrionics, Finley did show us a few nude video clips. She apparently liked to strip down in museums and pose next to actual art. That was kind of funny. The University was obviously putting all our student fees to good use, bringing in talent of such caliber.

During her fifteen minutes of fame, Finley got to play cultural martyr. She became a symbol, the fulfillment of the art world’s conceit of itself as an oppressed band of brave rebels.

The fact that what she called her art was a contrived, pathetic display was overlooked in the rush to the barricades. Her stated political agenda trumped any concerns about quality.

Finley has drifted into obscurity now, safely cloistered away  in New York City’s Tisch School of the Arts (annual undergrad tuition over $53,000.00), still trying to spark some interest in her sagging shock art. Museums are willing to throw her an occasional opportunity. In 2014 she did AA one better, and came up with a 13 step program for artists whose “lives have become unmanageable because of art.” Here’s a helpful hint: I wouldn’t blame art for the need to seek attention through grotesque displays.

Finley serves as a nice bit of trivia and nostalgia, a walking wounded veteran of the culture wars. The establishment takes care of its own. What they haven’t been taking care of is our society’s need for real art.

The NEA has failed in its mission. They’ve squandered their credibility. We will be better served by trying to find new ways to express an authentically American culture, one than the bureaucratic ideologues of the NEA never believed in.

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“It is quite clear to anyone of an uncluttered mental disposition that what is now put forward, quite seriously, as art by the ruling elite, is proof that a seemingly rational development of a body of ideas has gone seriously awry.”

-The Remodernism Manifesto

“I was not expected to be talented.”

Karen Finley

Update: Welcome Instapundit readers! Please see other articles here for more commentary on the state of the arts.

ARTICLE-Outcasts: Post Elitist Art

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Past the Point of No Return: Elitist Art is Dead. What Comes Next?

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In my compulsive reading of the ongoing analysis regarding post election consequences and hysteria, I came across this insightful article (clink on the link to read the whole thing):

TRUMP AND THE RAGE OF THE BRAHMANDARINS, by New Class Traitor

The piece makes an interesting comparison between the power struggles of various factions of American society and the Indian Caste system. I see a similar dynamic at play in the art world, which will result in a whole new field of consequences and hysteria to explore.

India makes for an intriguing parallel for the United States after our decades of divisive establishment politicking. A melting pot no more, we’ve been encouraged to divide ourselves into competing niche interest groups, sorted out by race, class, region, religion, and genders actual and imaginary. In this, we now share much in common with the Indian subcontinent, which packs multitudes of distinct ethnic groups, belief systems, and languages into one technically unified country.

In response to the chaos inherent in so many striving factions, over time India developed a controlling system of social stratification and segregation, the caste system. It is a hierarchy where everyone was assigned their role from birth.

The article from New Class Traitor provides these definitions of the four major caste groupings (called varnas, “colors”) and a notable subset:

From top to bottom, the varnas are:

1.  Brahmins (scholars)

2.  Kshatryas (warriors, rulers, administrators)

3.  Vaishyas (merchants, artisans, and farmers)

4.  Shudras (laborers)

5.  Finally, the Dalit (downtrodden, outcasts — the term “pariah” is considered so offensive it has become “the p-word”) are traditionally considered beneath the varna system altogether, as are other “Scheduled Castes” (a legal term in present-day India, referring to eligibility for affirmative action).

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A schematic of India’s Caste System

Don’t read the “Brahmin” here as actual religious figures. In our context it means our new self-aggrandizing aristocracy of the well-connected: the globalists and their various functionaries, lackeys, and minions.

His article goes on to describe connections between this model and the current American experience:

American society used to be a byword for social mobility (“the American dream”) — but a stratification has set in, and it takes little imagination to identify strata of Dalit, Shudras, and Vaishyas in modern American society. The numerically small subculture of military families could be identified as America’s Kshatryas. So where are the Brahmins? (No, I’m not referring to the old money Boston elite.) And why am I using the portmanteau “Brahmandarins” for our New Class?

In India one was, of course, born into the Brahmin varna, and they actually delegated the messy business of governance to the varna below them. In China’s Middle Kingdom, on the other hand, not only was the scholarly Mandarin caste actually the backbone of governance, but in principle anyone who passed the civil service exams could become a Mandarin.

Originally, these exams were meant to foster a meritocracy. Predictably, over time, they evolved to select for conformity over ability, being more concerned with literary style and knowledge of the classics than with any relevant technical expertise.

Hmm, sounds familiar? Consider America’s “New Class”: academia, journalism, “helping” professions, nonprofits, community organizers, trustafarian artists,… Talent for something immediately verifiable (be it playing the piano, designing an airplane, or buying-and-selling,… ) or a track record of tangible achievements are much less important than credentials — degrees from the right places, praise from the right press organs…[emphasis mine]

The New Class should be more like the Mandarins rather than the Brahmins, as in theory (and to some degree in practice) 1st-generation membership is open to people of all backgrounds…

In practice, however, this class is highly endogamous, and its children have an inside track on similar career paths. (Charles Murray’s “Coming Apart” made this case to a fare-thee-well.) Thus one finds 2nd and 3rd generation New Class members, whose outlooks on life tend to be much more insular and collectively self-centered than that of their 1st-generation peers. (It is important not to over-generalize about one’s fellow human beings: some of the fiercest fellow ‘renegades’ I know were to the manor born.) In that respect then, the New Class does resemble the Brahmins. Hence my portmanteau “Brahmandarins”.

He concludes with our last election acting as a kind of coup against the entitled “Brahmandarin” class which has dominated the establishment for decades now:

Fast-forward to the present. In the last several Presidential elections, Brahmandarin D candidates (Obama, Hillary) were pitted against Kshatriyas (McCain) or Vaishyas (Romney, Trump). Unsurprisingly, Brahmandarin presidents tend to appoint cabinet and senior aides from among the Brahmandarin caste, while Trump’s appointments came almost exclusively from the Vaishyas (Exxon CEO Tillerson for State, various other execs), and Kshatriyas (Mattis, Flynn, Kelly). It doesn’t matter that most of these people have real-world achievements to their names than a Robbie Mook type can only dream of: they are “ignorant” (read: insufficiently subservient to New Class shibboleths), “hate-filled”, etc. — All short-hand for “not one of us”.

For those same people who keep on prating about how open they are to foreign cultures (the more foreign, the better to “virtue-signal”) are completely unable to fathom the mindset of their compatriots of a different caste: they might as well come from a different planet as from a different country.

In the last election, with the smug “basket of deplorables” wisecrack, the anointed figurehead of the priestly/scholarly clique let the mask slip, and revealed the very unAmerican conceit that those who dared disagree with the establishment agenda were irredeemable Outcastes. The voters returned their verdict on that attitude.

“It isn’t so much that liberals are ignorant. It’s just that they know so many things that aren’t so.”

-Ronald Reagan

Judging from the terrible real world results of their chronic mismanagement, our governing, self-anointed “smartest people in the room” have turned out to not be smart at all. Their system of “meritocracy”  has been exposed as a racket, serving up only cronyism and a lack of accountability.

If these people had been truly educated, they would have learned from the ancient Greeks that hubris leads to nemesis. However, it’s hard to conceive of a greater collection of ignorance and nonsense than what passes for the coursework of contemporary academia, and so all the supposed best, brightest and most powerful were incapable of adapting to a changing world.

The assumption is the art world is about to rally, and put a stop this shocking turn of events. “What Does It Mean To Be An Artist In the Time Of Trump?” huffs the Huffington Post. Based on the interviews within, nothing new. These insider artists intend to offer the same old cryptoMarxist litany that has kept our contemporary cultural institutions unpleasant and irrelevant for at least 50 years. The luvvies of the establishment art markets declare they will bring you their rage. They will keep having futile tantrums launched from unstable platforms of identity politics, make lots of threats to keep subverting and questioning and denouncing, and use even more tactical buzzwords describing their various chew toy -Isms.

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Fight the Power!

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What these artists don’t see is they are defending the shabby shadows from a dead dinosaur of a political philosophy, one that has caused a century of suffering and oppression. They’ve been so well indoctrinated they don’t even realize how ineffectual they are. I won’t dignify their cheap efforts at propaganda and third rate activism with the meaningful status of art.

All art intuitively apprehends coming changes in the collective unconsciousness.

-Carl Jung

War was already declared on the excesses of establishment art, at the turn of the current century. And not only the ideological, virtue signalling style of art, but also the self-absorbed, alienating products of the Ivory Tower approach, status symbol art made to cater to the expectations of elitist curators, trophy hunting collectors, and other art snobs.

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Miro, Miro on the wall…

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In 1999, before there were recognizable populist movements aimed at stripping authority away from the incompetent and arrogant ruling political classes, there was a revolution in art. In England, a grassroots group of painters who called themselves the Stuckists launched attacks on the powerful but corrupted arts institutions of the UK. They blew apart the facade that the art world did anything but serve the agenda of the establishment. “Brit Art, in being sponsored by Saachis, main stream conservatism and the Labour government, makes a mockery of its claim to be subversive or avant-garde,” their manifesto accurately observed.

In their later masterful overview of the coming changes in collective unconsciousness, The Remodernism Manifesto, co-founders Billy Childish and Charles Thomson stated: “It is quite clear to anyone of an uncluttered mental disposition that what is now put forward, quite seriously, as art by the ruling elite, is proof that a seemingly rational development of a body of ideas has gone seriously awry.”

You can take the words “as art” out of that statement, and it summaries the abuses and failures that are coming to a head now in our culture now quite succinctly. With its distrust of received authority and emphasis on spirituality and personal responsibility, Remodernism was a harbinger of greater movements taking form across the globe.

Just like the “Brahmandarins,” the know-nothing educated classes who fancied themselves privileged and entitled, are being toppled from their positions of power in administration, so they will be cast out of their gatekeeper status in the arts. Their particular brand of “scholarly” art has had a hundred years to gain traction in our civilization, but has failed to do so. Without their endless partisan support, this stuff will vanish quickly, only notable as artifacts of a bygone era.

Who is on the wrong side of history now?

Cutting away the presumptions of the existing arts establishment is liberating. The possibilities are limitless. We are the latest iteration of the American character: optimistic, ordinary people working as explorers and inventors, self-reliant and productive. We make a complex art for complex times.

Welcome to Remodern America.

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Richard Bledsoe “Side Saddle” acrylic on canvas 24″ x 30″