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

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


“My problem with unions is they breed mediocrity.”

-Kevin O’Leary, Canadian Businessman 


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:”


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. 

EXHIBITIONS: International Stuckism-Quintus Gallery, Watkins Glen, New York

Richard Bledsoe “Petrified Forest” acrylic on canvas 20″ x 24″ 


International Stuckism

October 13, 2017 – November 12, 2017, opening reception Friday October 13 

Quintus Gallery 65 Salt Point Rd. Watkins Glen, NY

Featuring artists from the UK, Spain, Greece, Russia, Iran, France, the Czech Republic, Australia, and the United States 

New York artist Ron Throop continues to make things happen. His latest project has been coordinating over thirty artists from around the world to share their visions in the latest display of the global art phenomenon of Stuckism.

The great analyst Carl Jung understood what art does. He stated, “All art intuitively apprehends coming changes in the collective unconsciousness.” Before the rejection of elitist presumption and incompetence became the consuming political topic it is now, in 1999 a group of UK artists started waging the same fight against the corrupt and out of touch establishment art world. The Stuckists were a harbinger of the dynamic which is remaking society. They are the first art movement of the Remodern era.

I’ve had the privilege of hosting a Stuckist exhibit here in Phoenix, with 2014’s International Stuckism: Explorers and Inventors. I’ve also participated in other international shows, like 2015’s Stuckism: Remodernising the Mainstream, University of Kent, Canterbury England.It’s an honor to show with these committed creatives. Stuckist free expression brings connectivity and joy back into a contemporary art world too often stifled by alienation and a sense of unjustified superiority.

Ron Throop sees art as a means for bringing people together. As he explains, “Communion has been one of my artistic goals for as long as I can remember. Expressive painting is a very powerful connector to people. We are an image and story-loving species.” To spread the word he has also assembled a book about the show, “International Stuckist Invitational at Watkins Glen,” available on both Createspace and Amazon.

Michele Bledsoe and I have both contributed to this show. It’s an exciting time, being involved in the renewal of the fundamental human activity of art making. We are very grateful to Ron Throop for his diligence and vision in creating this opportunity that demonstrates the grassroots are global, and growing. 

Michele Bledsoe “Assemblage” acrylic on canvas 7″ x 5″ 


Richard Bledsoe “In the Trenches” acrylic on canvas 12″ x 16″ 


ARTISTS: Ron Throop and the Russian Stuckists

Throop Miller

Ron Throop “Henry Miller Went To Paris in 1932” 2016. Acrylic on canvas, 18′ x 14″


I first noticed the works of painter Ron Throop on the Facebook page for Stuckism: The Ant-Anti Art Movement.  There’s always lots of fascinating works getting posted there, but his stood out to me for several reasons.

Stuckism is truly an international phenomenon, but here was another United States artist, from Oswego, New York, puzzling his way through  the dynamics of the independent art scene.  He was very productive, constantly putting up images of new paintings. When I see someone so dedicated it sparks my interest; it resonates with my own compulsive approach. I always say painting is my healthiest obsession, so to see someone else with that drive gives a sense of camaraderie.

Even more intriguing were the painting themselves, spontaneous, boldly colored, freely rendered, and full of stream of consciousness musings and humorous asides. As Ron and I began to communicate I was not surprised to discover he was also a fan of author and painter Henry Miller. They tap into the same kind of liveliness, cheerfulness and velocity in their work.

Throop Squirrel

Ron Throop “Is the Squirrel My Spirit Animal, or Am I Just Hyper-paranoid?” 2015

Acrylic on canvas, 14″ x 11″

I invited Ron to take part in Spineless: The Invertebrate Art Show, an exhibit I curated in Phoenix, Arizona. He sent a couple of pieces that made a big impact. During the opening, I witnessed one visitor experience a revelation. This shy young girl could not stop speaking about how blown away she was by the show, the energy in the pieces, how the colors just popped. When we asked her to pose next to her favorite work she chose one of Ron’s.


Inspired by Throop

I would not be surprised if a new artist was created right there on the spot. Her eyes had been opened to the possibilities of painting.

Recently I learned of an exciting new development in Ron Throop’s career. Using the global connections of Stuckism and the power of contemporary communications technology, he started a project with a group of Russian Stuckist painters. He is tracking their interactions in his new blog, Round Trip Stuckism.

Throop Snow

Ron Throop “Which China Snowflake Is Wrong?” 2015. Acrylic on canvas, 24″ x 18″


 Ron Throop took some time to answer a few questions about art, life and collaboration. He also shared some wonderful images from his Russian painting partners.

How did you initially get involved in the visual arts? Who were some of your inspirations?

Ron Throop: As a younger man and aspiring writer, I often dabbled with paint at the suggestion of Henry Miller. He would suffer writing, its joys and frustrations, to a cracking point, and then he would gather his watercolors, paper, and brushes, and go on a painting jag for however long it took to feel like writing again.
So I did this too, as practice. Over time I realized that painting is so much more joyous than writing. It allows for tremendous variation, can be spiritual, silly, expressive like fireworks—and still play the music loud. The viewer decides her own feeling (or not) without needing the imagination hand held and maneuvered by the writer.
Miller also introduced me to the picture poems of Kenneth Patchen. I copied his style to flow text in my paintings. I still do.
I raised my girls, tutored them myself, up until their teen years, when they enrolled in school. I cooked in restaurants to make ends meet. My children came first, always, so my lust for expression (which is terribly strong), always sat on the back burner until it boiled over. In my 30’s I began to nurture it into a regular regimen. Found a feel so to speak, and haven’t looked back.

How did you discover the Stuckist movement?

RT: My good friend who is the most enthusiastic educator of visual art I know sent me a video one day of a Stuckist show in London, which led me to the Stuckist manifesto.

What makes an artist a Stuckist?

RT: I don’t know if I am one entirely. I would tell someone who paints regularly to read the manifesto. Does he/she agree with most of its precepts? I do. I paint recognizable figures mostly, but am open for change. I think my limitations keep me where I am, which is good for now. Still, I believe the word “whim” should be printed above any creative door.
I like this from the manifesto:

“The Stuckist paints pictures because painting pictures is what matters.”
“The ego-artist’s constant striving for public recognition results in a constant fear of failure. The Stuckist risks failure wilfully and mindfully by daring to transmute his/her ideas through the realms of painting. Whereas the ego-artist’s fear of failure inevitably brings about an underlying self-loathing, the failures that the Stuckist encounters engage him/her in a deepening process which leads to the understanding of the futility of all striving. The Stuckist doesn’t strive — which is to avoid who and where you are — the Stuckist engages with the moment.”

And my favorite:

The Stuckist is not mesmerised by the glittering prizes, but is wholeheartedly engaged in the process of painting. Success to the Stuckist is to get out of bed in the morning and paint.


And I do. Until I drop dead.

Throop Paint

Ron Throop “Like de Kooning, I Set Out To Make Something Very Ugly With Lots of Paint. Unlike de Kooning, It Took Me Only a Few Hours” 2015. Acrylic on birch board, 24″ x 24″


Tell us about some of the art events you’ve created locally.

RT: This upcoming project is the first group organizational effort I will sign my name to. I open up my house twice a year to show my own work. I have had some luck getting admitted in galleries, both group and solo shows, but truly I prefer the home show over all the rest. A bar would be okay. I like cheerful noise. I like being a happy host. Galleries are just rooms. The social psychologists have been telling us all along that it is others who authenticate achievement—rarely oneself, the achiever. I like to think I am crazy enough to love what I do, and what I have become as a man cut up into many roles. If some gallery wishes to invest in me, wonderful! I also like money, no matter how never easy come, always easy go it is for my family.

You’ve launched an international collaboration with a group of Russian Stuckist painters. How did this come about?
RT: This is about reverence first and foremost. I met Alexey Stepanov through the Stuckist Facebook page. I messaged him to ask if he would be willing to sell me one of his beautiful paintings. He suggested we trade instead. Voila! A painter-to-painter relationship was born.  (See Ron’s post on the topic: When a Stuckist Trades, Does a Tree Fall in the Woods?)


Alexey Stepanov “FPS Russia in St. Petersburg and Leningrad. Execution of Sentences. Wednesday / Cloudy evening ” 2016

From that day on I became very interested in his work, and discovered through social media (mainly Facebook and VK) that Alexey did not do all his work in a frown-bubble like I did. He hosted figurative painting sessions in his studio, and went out plein-airing Moscow architecture, people and nature. The Russian Stuckists had shows, friendly auctions, painting parties, what have you. I “friended” several of Alexey’s friends (painters too) on social media, and continued to cheer on their works and exhibitions from my lonely writing desk of woe.
Then they had a show in the woods, and posted pictures of paintings hanging on trees. I was smitten! Kindred spirits at last! Over the past few years I too had taken my paintings to the woods and hung them on trees. This was the culture I had longed for all my life! Non-existent in my town and country. In the U.S., avarice seems unavoidable in the arts. Avarice, and even a creeping arrogance. And among artists! A gargantuan oxymoron. (Ron’s post: Homage to Painters Alive Who Understand What I’m Getting At)
So, I kept finding myself wanting to travel to Moscow to paint with Alexey and friends. I came up with the idea to ask The Russian Stuckists if I could sit in on some of their sessions through Skype.
I applied for a New York State Decentralization Grant as an individual artist, and got it. A modest award of $2,500. Giving myself an imaginary minimum wage, by project’s end, I estimate I will have “spent” in lost wages, over $40,000, maybe more. All artists understand this labor of love, at least in some point in their lives.
I informed Alexey and friends the day after I received the award. By week’s end I was nervously participating in my first international live painting session.


Lena Ulanova “Girlfriends” 2016


How are you working together? What are your goals for this project?

RT: I would like to paint with The Russian Stuckists via Skype possibly 10 times by August. Meanwhile as painters we keep painting, individually, in groups—any way we can, while I keep to my promotion. In no time we will amass 50+ precious works to exhibit. I will have their chosen pieces shipped to the United States, and hang our work for public show. There will be movies, photos, written accounts, a showbook, artist talk and education on Stuckism. I will do extensive outreach to fill up the place. I will also apply their work to established galleries (whether the galleries like it or not). I wish to promote Stuckism of course, but I am mostly intrigued by the work of these painters. Still, if it wasn’t for Stuckism, I never would have met Alexey and friends, and I would continue to rot in that frown bubble I spoke of.


Alena Levina”Cassandra” 2016 Oil on cardboard, 25 x 30 cm



Andrew Makarov “All the Colors In the Field. The Ministry of Defense”



Peter Generlov “Bridge” 2015


What is happening in your own art now?

RT: After the first Skype session, I realized how much I need to improve. I persuaded a master to let me audit his figurative drawing course at the local college. This is a huge leap for me. I have always been a confident and joyous painter. Last week, after attempting to paint a model on demand, I got smacked upside the head with a blast of overwhelming confusion. Already this grant has proven its potential. It made an old dog seek a new trick. (Ron’s post on the collaboration in Round Trip Stuckism: Nero Lyred While Rome Burned But Was He Any Good And Did He Know?)

Why does art matter in the 21st century?

RT: Not everyone is born to be a dentist or a plumber. Rather than a blank slate, I think that all of us moderns are born misfits seeking communion. Unfortunately in our time, the dentists and plumbers can always find a pal to drink with. Not so with painters. Yet we abide, desperately at times. I guess the more art that gets made, the more communion artists will share with one another. Working with and admiring the work of the Russian Stuckists has already improved my life significantly. I feel I can arrive in Moscow wearing my Walt Whitman hat, push my hands down into my pockets, and head over to Alexey’s flat to gesture draw and share a round.
Painters need to know painters. Social media is a good introduction, but something more must jump from that, or else all acquaintance turns stale.
Stuckism is the most modern, human painting movement on earth right now. Nothing else comes close.


Ron Throop “The Mysteries of Norway” 2015  Acrylic on canvas board, 20 x 16”