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 

 

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Artist Turned Assassin: When a Marxist Mexican Muralist Attempted Political Murder

David Alfaro Siqueiros “The Echo of a Scream”

Perhaps the Screams of his Victims? 

 

“Our primary aesthetic aim is to propagate works of art which will help destroy all traces of bourgeois individualism.”

-David Alfaro Siqueiros

 

How much is forgiven to perpetrators of villainy, when they parrot the politically favored ideology. A case in point is the renowned artist David Alfaro Siqueiros  (1896-1974). This painter has works in prestigious museums around the world. Public art he created remains in prominent locations to this day. His experimental artistic techniques were said to have inspired the drip paintings of his one-time student, Jackson Pollock. Art history proclaims Siqueiros one of heroes of Mexican Muralism, a Modern art movement that claimed to be an art for the people.

Unless you were one of the people that didn’t agree with Siqueiros’s radical Stalinist viewpoint. In that case, Sisqueiros might have literally attempted to murder you and your family in your sleep. That’s precisely what he tried to do to the exiled Leon Trotsky on May 24, 1940.

Leon Trotsky was a Bolshevik leader, the heir apparent to take over the Soviet Union when the original cult leader Vladimir Lenin died in 1924. Instead, he lost out to the thuggish Joseph Stalin. By 1929 Trotsky was exiled and on the run, fleeing Stalin’s vengeful inclinations to tie up loose ends permanently by means of murder.  For years Trotsky wandered around Europe, Soviet pressures and intrigues denying him any safe location. In 1936 he was sentenced to death in absentia during a Moscow show trial. Russia’s secret police, the NKVD, now had a mandate: kill the traitor.

Trotsky received an unexpected lifeline in 1937, when the Mexican Muralist Diego Rivera pulled strings and got the Mexican government to offer asylum in Mexico City. When Trotsky arrived Rivera was too ill to meet him, but Diego’s wife, the fascinating Frida Kahlo, turned up to welcome him.

Safe at Last? Frida Kahlo Greets the Trotskys

 

For a time the Trotskys lived at Frida’s home, La Casa Azul.  She and Trotsky soon became lovers. She even dedicated a painting to him. In the work she holds a slip of paper which reads,  “To Trotsky with great affection, I dedicate this painting November 7, 1937. Frida Kahlo, in San Angel, Mexico.”

 

Frida Kahlo, “Self-Portrait Dedicated to Leon Trotsky”

 

Diego Rivera didn’t seem to mind. He had plenty of affairs of his own, and he was secure in his stature in the art world as one of the Big Three of Mexican Muralism, along with José Clemente Orozco and David Alfaro Siqueiros.

A Prisoner of  his Politics:  David Alfaro Siqueiros

Unfortunately, Siqueiros wasn’t just another artist. He was a ruthless partisan working with Stalin’s secret police on a final solution to the Trotsky problem. In May 1940 the painter personally led an attempted hit on Trotsky and his family.

David Alfaro Siqueiros, The Sob 

The story is told on Marxists.org:

MEXICO – At approximately four o’clock in the morning of May 24, some twenty-five men under the direction of Stalin’s GPU penetrated the high walls surrounding Leon Trotsky’s house in Coyoacan, and riddled with machine gun slugs the bedroom where Trotsky and his wife, Natalia, slept. Robert Sheldon Harte, the secretary-guard on duty and member of the Socialist Workers Party, was kidnapped and murdered, his body thrown into a shallow pit filled with lime…

Trotsky had been working very arduously the day prior to the assault, and as is his custom on such occasions had taken a sleeping powder. He awoke hazily, thinking he heard the explosions of firecrackers with which Coyoacan commemorates the special days on the calendar. But the explosions were too frequent and they were not far away, as it had at first seemed, but almost within the room. With the acrid smell of powder, Trotsky realized that this was the attempt which he had been expecting for twelve years. Stalin at last had commanded his GPU to correct what he once termed his “major error” – exiling the leader of the 1923 Opposition.

Natalia Trotsky was already out of her bed. She and her husband huddled together in a corner of their bedroom. Natalia made an attempt to shield Trotsky with her body; he insisted they lie flat on the floor without moving. Bullets tipped through two doors of their bedroom, thudding in the wall just overhead. Where were the police who had been stationed outside the walls? Where the guards inside? Surely bound hand and foot, or kidnapped, or already dead.

The door to the room where Trotsky’s grandson Seva slept, burst open and a few moments later an incendiary bomb flared up around a small cabinet standing there. In the glare, Natalia saw the dark silhouette of one of the assailants. They had not seen him enter before the bomb flamed, but a number of empty cartridges within the room and five or six shots directly through each of the empty beds proved that this assassin had been assigned to make the final check, to still any movement that might still exist after the cross-fire from the French window opening on the patio and the door to Trotsky’s study. In the darkness of the room, and hearing no sound whatsoever now that the machine guns were silent, the assassin undoubtedly mistook the form of the bed clothes for the lifeless forms of Natalia and Leon Trotsky. He emptied his gun on those forms and fled.

The old revolutionists then heard what was to them the most tragic sound of the night, the cry of their grandson from the neighboring room, “Grandfather!”

Natalia found her way into his room. It was empty. “They’ve kidnapped him!” she cried. This was the most painful moment of all.

Seva, however, had awakened when the assailants machine-gunned the door opening from his room onto the patio, the bullets striking the wall barely above him. He immediately threw himself out of bed and rolled underneath on the floor. The assassins smashed through the door and as they passed his bed, one of them fired into it, the bullet striking Seva in the big toe. When they had gone, Seva called out, and then ran from his room, crying, certain that his grandfather and grandmother were dead. He left splotches of blood behind him on the pathway in the patio and in the library…

David Alfaro Siqueiros was eulogized in Futuro, Lombardo Toledano’s monthly magazine, as “an artist of great prestige and of universally recognized qualities. Throughout America, from New York to Buenos Aires his work as a painter is appreciated. He is a man who honors Mexico. In any country in the world a person of this class is an object of consideration no matter what might be his political affiliation. In Mexico it is not like this. Lately he has been the object of arbitrary abuses by the city police.”

It was this painter whose qualities were not given due consideration by the city police who, donning dark glasses, a false mustache, and a uniform of the city police, headed the gang which made the actual assault….

So Siqueiros failed in his efforts to kill an old man and woman. His network only managed to murder a guard and wound a little boy. But Trotsky didn’t have long left. On August 20,1940, another Stalinist assassin stuck an ice axe through his skull; Trotsky died the next day.

So what were the consequences for Siqueiros’s cruel act of terrorism? Not much. He managed to escape imprisonment:

 

The police department of Mexico City on June 18 announced that it had solved the case. Twenty-seven members of the Communist Party were under arrest. Among them, a number had made complete confession as to their participation. David Alfaro Siqueiros, the man who was an “honor to Mexico” according to Lombardo Toledano’s Futuro, was named as the actual leader of the assault. Above him were individuals from whom he took orders whose names were unknown to the staff members of the GPU caught in the police net. Haikys, formerly in the Soviet legation in Mexico and Soviet ambassador to Spain following the purge of Rosenberg in the civil war, was suspected to be one of these higher-ups. Carlos Contreras, GPU assassin in Spain, appears in the same category. Siqueiros, the Arenal brothers, Antonio Pujol, all members of the Communist Party, had fled Mexico.

The Stalinist press announced the arrests without mentioning the political affiliation of the prisoners, except indirectly in the case of Siqueiros, formerly the “honor of Mexico” but now “mad,” “undisciplined” and a “pedant.” The false mustache and dark glasses were undoubtedly the “pedantic” touch to his use of machine guns and bombs. It is not clear why they called him “undisciplined.”

 

Siqueiros lived a long life after he attempted to end Trotsky’s. He had highs and lows ranging from prison to star turns at Biennnals and vast public art projects, including the one of the biggest murals in the world, Polyforum Cultural Siqueiros, part of the Mexican World Trade Center. There didn’t seem to be any repercussions  for his murderous impulses. He was redeemed by the same elitist denial that ignores the estimated 100,000,000 human beings slaughtered by world communism. It falls right in line with predictions by Barack Obama’s mentor, Bill Ayres, that 25,000,000 Americans would have to be killed to advance socialism’s utopia schemes.

In my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, I describe the contemporary cognitive dissonance that occurs when creativity succumbs to ideology:

 

…Postmodernists don’t see the predictable Marxist pattern that today’s obedient flock will be tomorrow’s barbeque.

The spiritual life of Postmodernism has been misdirected from transcendental and enduring values to ponderous politics. Nothing is sacred. There is no sense of continuity; only the needs of the moment matter. Where there should be a human spirit engaged with the eternal choice between good and evil, Postmodernists substitute slavish devotion to those who reduce morality to dominance.

Frida Kahlo provided a horrifying coda to this disgraceful episode. Later in life, her artistic skills degenerating along with her health, she created a painting paying fawning homage to Stalin, the ruthless dictator who had ordered the brutal execution of her once cherished friend.

Echoing the depressing final line of George Orwell’s 1984, Frida loved Big Brother. She shares that trait with too much of our current artistic establishment.

 

Sellout: Frida and Stalin XOXOX

 

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BOOKS-Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization

Richard Bledsoe “Among the Fortunate” oil on canvas 32″ x 32″ 

 

Order from Amazon!

Order from Barnes&Noble Here

Order from Outskirts Press Here 

 

REMODERN AMERICA: How the Renewal of the Arts Will Change the Course of Western Civilization

Art reminds us of who we are, and shows what we can be. But these days the visual arts are undergoing a crisis of relevance. Art has been weaponized into an attack on the foundations of civilization itself, full of examples of irrelevance, carrion, excrement, pornography, and debris.  Instead of being reverenced as a communion for all, contemporary art is being treated as a wedge, a social signifier of elitist attitudes. In doing so, the New Aristocracy of the Well-Connected block access to powerful resources.

Our self-aggrandizing ruling class’s tawdry and nihilistic vision of life is being inflicted upon us all. They are trying to remake the world in their own rotten image. They deny our society the inspiration to live up to ideals, the encouragement to think and feel deeply, the yearning to harmonize with truth and beauty. As a result, the mass audience has turned away. We’ve come to call this assault Postmodernism.

The elitists understood to maintain power, they had to undermine resistance. That’s why the top-down cultural forces have made Postmodernism so prevalent. Using mass media to communicate their sickening message, the establishment made dispiriting Postmodernism the terrain we all must navigate, the atmosphere we all must breathe, the environment we all must adapt to.

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

Postmodernism is dead. This is the beginning of the Remodern era.

Art is a more enduring and vital human experience than the power games of a greedy and fraudulent ruling class. The story of the 21st Century will be the dismantling of centralized power. As always, this course of history was prophesied by artists—those who are intuitively aware of the path unfolding ahead. Their works become maps so that others may find the way.

As Andrew Breitbart stated, “Politics is downstream from culture.” A ragtag group of UK artists fired the first shot against the abuses and ineptitude of the entrenched Postmodern establishment. What these artists initiated has spread across the world, in popular culture, the media, politics, gaining ever deeper significance and consequences. Enduring changes start in the arts.

Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization provides an historical overview of how art shapes society and politics. This book exposes how the contemporary art world is used as a tool of oppression. Most importantly, Remodern America provides the solution, and reveals how the power of art can be reclaimed as a force for liberty.

Remodernism is art of the people, by the people, for the people. Our freedom here in the United States should be producing the most moving and accomplished art in human history. America can be a world leader in culture, not just in military and industrial might. We, the people, deserve a better reflection of our character than the appalling mockery of the art favored by the elitists. So we, the people, are going to make it happen.

Remodernism is the recognition that Western civilization is still mighty. Remodernism knows we can still use our talents to create unprecedented growth. Remodernism is understanding our best days are still ahead of us, if we make the right choices, and do the needed work.

We will demonstrate this in art, to begin with. Imagine a new, decentralized creative class not invested in trashing our culture, but in celebrating it. What a choice to present to our citizens! Uplifting, honest artistry will change the tone of our entire society. Where we go one, we go all.

Renew the arts, and renew the civilization. Together, we can make art great again.

 

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

-from The Remodern America Manifesto 

 

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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.

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Why Banksy’s Shredded Painting Gimmick Isn’t Actually Art

A Cunning Stunt: Banksy Strips 

 

There’s been a strange pantomime playing out over the news for the last couple of weeks. It’s brought rare mass audience attention to the bloated and corrupt establishment art market.

I’ve written about Banksy before, one the elite’s mascots. As stated in the previous article:

Perhaps English media figure Charlie Brooker summed it up best: Banksy gained such art world stature because “…his work looks dazzlingly clever to idiots. And apparently that’ll do.”

 

So this anonymous artist supposedly pulls a prank at a glitzy auction, and partially shreds a work. We are meant to believe this was set up years before, and a blue chip auction house which specializes in archival handling of very expensive and fragile works of art managed to overlook a shredder embedded in a frame. Seems legit.

The picture itself is achingly banal. Finally, a work of art less insightful than an emoji.

She has a sadz 

It’s not even drawn well. It’s like she’s got a stubby little Tyrannosaurus claw right arm.

Due to the publicity stunt of the shredding, now this piece is worth even more than the final purchase price of over a million pounds. Almost as if the “surprise” maneuver was a calculated bid to drive up prices, and everyone was in on it:

 

“Banksy didn’t destroy an artwork in the auction, he created one,” Sotheby’s senior director and head of contemporary art Alex Branczik wrote. “Following his surprise intervention on the night, we are pleased to confirm the sale of the artist’s newly-titled ‘Love is in the Bin,’ the first artwork in history to have been created live during an auction.”

The anonymous buyer felt similarly, based on a quote given to Sotheby’s.

“When the hammer came down last week and the work was shredded, I was at first shocked,” the buyer said, “but gradually I began to realize that I would end up with my own piece of art history.”

I would suggest that, while the buyer has purchased a curiosity produced in this particular historical era, it’s not actually art history we’re talking about here. Art did not partake in this gag.

To misquote a decent 1990s scifi action movie:

What if I told you everything you’ve been told about about art by the establishment is a lie?

Whoa 

The Postmodern elites don’t want people to have the experience of genuine art. Real art could incite individuals to manifest pesky traits like free will, idealism, and spiritual awakening. So a false version of art is hyped by the powerful, something that will keep the people befuddled and indoctrinated. Banksy is one of their henchmen, a willing cog in the disinformation machinery.

I wonder if Banksy is a mere individual, or more of a group effort. His pictures and shenanigans all have an odor of decision by committee about them. It would probably take a lot a groupthink to come up with such insipid offerings

With the fawning collusion of the media and establishment art world, Banksy gets to have his cake and eat it too. He gets to play anti-capitalist activist while selling shoddy products for millions. His globe trotting graffitied works are supposed to impart street cred, and conceptual anti-commercialism. But the same generic stencils are easily put onto canvases and sold off to the highest bidders. What is being bought isn’t the art, but a perverse species of ostentatious prestige.

Banksy’s content is the same old leftist slant that already monopolizes government, the media, technology companies, academia, corporate boardrooms, and the culture industries. How is Banksy supposed to be a rebel when he does nothing but echo the party line? His stuff is graceless propaganda, less nuanced than an editorial cartoon.

Banksy socks it to the running dog imperialist orange man!

Just like absolutely everyone else who is allowed to share opinions on a public platform. 

Banksy is a Non Player Character entity who  disseminates mindless graphics  instead of mindless chants. His followers claim he is speaking truth to power when all he does is reinforce the typical establishment narratives. He’s made himself rich while pretending to be down with the proletariat. It takes a deep coating of cognitive dissonance to be able overlook that festering mass of doublethink.

But most of all, Banksy is a name brand selling a product that has the psychical characteristics of art, but is not really art at all. He offers artifice, an approximation of art  that does not actually deliver on art’s most important aspects. He simply does not provide a credible artistic experience.

Banksy’s mock art displays no personality. It does not display advanced achievements in craftsmanship. It does not suggest a meaningful philosophy. It is not unique. It lacks real emotional resonance, spiritual awareness, a sense of contemplation. There is no awe, no sustainable experience at all, just a one liner summary of social engineering tropes. This type of empty, soulless junk is what the elitists have propped up to act as a decoy away from actual creative efforts.

The time has come, when our ruling class tries to shove an inert narrative down our throats and tells us it is art, that we shred their presumptive authority.

In my upcoming book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, I describe how contemporary art has been weaponized into an assault on the culture:

“Unfortunately, a substantial disconnect exists between the widely held respect for art, and the alienation most serious contemporary art evokes when actually encountered.

Instead of being reverenced as a communion for all, contemporary art is being treated as a wedge, a social signifier of elitist attitudes. Officially sanctioned art is all too often based on theoretical formal matters and sociological notions designed to exclude, rather than engage, the general public.

Practically no one is paying attention to contemporary art other than a small bubble of artists, academics, cultural institution apparatchiks, trophy-hunting high rollers, and those who wish to vicariously participate in presumed sophistication.

Any art from outside this tight little cabal is treated as non-existent. Through their powers of finance and institutional control, this self-serving, out-of-touch elite presume to dictate art matters for the entire world.”

 

Banksy’s shredded painting is not art, but a con game, just another sting operation of the Big Store swindle.

It does, however, make for a nifty topical Halloween costume.

 

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

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

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

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

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

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

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

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

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

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

jk
Jeff Koons: A Pile of Inadequacy  

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Banksy: Know Your Place, Peasants 

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Tanked: Damien Hirst

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

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

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

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

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

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

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

 

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

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

Carl Jung Understood the West: Our Monsters, Our Heroes 

 

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

 

 

COMMENTARY: The Rotten Apple Didn’t Fall Far From the Tree-The Obnoxious Art of Lena Dunham’s Father (Sort of NSFW)

Daddy’s Girl: Lena and Carroll Dunham 

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“I’ve looked a lot at Picasso and read a lot about him, and I think he was having a good time at different points. There’s humor in that work—there’s no question—but to me it’s a byproduct of something else that’s much more ruthless and cold. Like the humor of a psychopath [laughs].”

-Caroll Dunham

 

I know about Lena Dunham against my will.

I’ve never sought out information about this marginal, unstable pop culture player, and yet at least every couple of months Lena Dunham floats to the surface of the news stream, and I have to hear more about her. The establishment media needed a role model to codify the Millennial generation as feckless narcissists and vicious virtue signallers, and Lena fits that job description perfectly. One of the latest breaking reports about her involved how she broke a fingernail while doing some intimate grooming. I resent that my brain was forced to ponder how such a thing could even happen.

My rejection of her ongoing presence isn’t about her looks, although a big part of Lena’s shtick involves a weird blend of exhibitionism and a push/pull of inadequately repressed self-loathing. It’s Lena Dunham’s character that is concerning.

She follows the Postmodern prescription that untalented celebrities can polish their resumes by strident political posturing. Pretty much no one watched her main claim to fame, the cancelled HBO show Girls. As Entertainment Weekly noted in 2017, at the beginning of its poorly rated last season, “Girls is basically the quintessential media bubble show — hugely loud in pop culture chatter compared to its actual viewership.” The reason an unpopular show like Girls gets hyped is because the parties involved can be counted on to broadcast the approved partisan agenda.

And yet away from the predictable policy positions and politicians she monotonously and shrilly advocates, Lena Dunham makes an effective case for leftism as a mental disorder, a justification for some reprehensible behavior. Lots of Dunham’s press coverage is actually negative fallout from the latest landmine she stepped on. Dunham has tried to fire up internet hate mobs by making dubious accusations about thought crimes by a couple of airline stewardesses. She smeared a former college associate with groundless rape accusations, then went on to publicly betray the #Metoo movement when they came at one of her pals. She abandoned a pet and then followed up with a borderline bestiality tweet. Perhaps most notorious was her “comedic” take on how during childhood she molested her younger sister. “Basically, anything a sexual predator might do to woo a small suburban girl, I was trying,” she joked. Ha ha.

How does her sister Grace respond to the disclosure? She insists there was no problems. Oh, and by the way, Grace is now a non-binary gender identifying queer activist and performance artist, because of course she is. Sounds like the outcome of a totally healthy upbringing. Which brings us to their daddy: aging New York hipster and painter Carroll Dunham.

My wife Michele Bledsoe often states the art an artist makes shows who they are. So who would you say Carroll Dunham is, after looking at a few examples of his art?

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In 2010, the critic David Pagel summed it up in a review:

“Carroll Dunham makes paintings that not even a mother could love. Vulgar beyond belief, his super-crude depictions of a naked woman crawling through a cartoon landscape border on vicious.

“It’s easy to see why many people find them offensive, demeaning and disgusting, as well as mean-spirited, malicious and horrific. They are all that and more. Much, much more.”

But this is the establishment art world we’re talking about here. Pagel clarifies the approved response in his next sentence:

“Dunham’s new oils on canvas are the best works the 61-year-old New Yorker has made.”

As I state in my upcoming book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization,  

“Behold the moronic masterpieces selected and elevated by our utterly corrupted and compromised institutions. This list could go on and on, full of examples of irrelevance, carrion, excrement, pornography, and debris.

“This is the elite’s idea of what is significant in our culture. This is what the establishment is stocking our museums with. This is our self-aggrandizing ruling class’s tawdry and nihilistic vision of life, being inflicted upon us all.

“They are trying to remake the world in their own rotten image. They’ve weaponized art into an assault on the foundations of civilization itself. We can call this assault Postmodernism, a philosophy which is explored in detail later in this book.”

I wasn’t talking specifically about Caroll Dunham in the quote above, but the shoe fits him like he was Cinderella.

Now I have no issue with art taking on intense subject matter and mature themes. It must. Contemporary painters like Eric Fischl may specialize in the dark, seamy and sexual, but skilled artistry can transcend the tawdriness.

Nor do I have an issue with extreme stylization in artwork. It was one of  Modernism’s powerful contributions to art’s expressive power; as far back as the Nabi art movement of the 1800s, artists experimented with flatness and simplification as a means for conveying an otherworldly experience.

No, the problem with the art of Carroll Dunham is its poor quality. It’s a Postmodern mishmash of graffiti, dehumanizing identity politics, emoji style perversity and  predictable coloration. I’ve seen more effectively rendered scrawls in public bathroom stalls. The paintings of Carroll Dunham are unfocused, sloppy, cheap, and redundant. Despite their brazen imagery, they are so poorly realized I’m not even sure they count as “not safe for work.”

The existing establishment is well stocked with sociopaths. Perhaps no where can we find stronger visual confirmation of this than the contemporary art market. For the Dunhams, producing lousy art propped up in the service of  pathological elitist oikophobia is the family business.

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Say Cheese! Carroll Dunham Exposed 

 

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