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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STUDIO: An Ikea Hack for Painting Storage

A Simple Solution for Painting Storage 

 

I’ve written before about the challenges of being a compulsive painter who likes to work on medium/large paintings (see 2016 entry STUDIO: Sixteen Years of Paintings.) If not sold, on display, or on the walls of my own house, where can I keep all the paintings I make?

The number of works has only grown over the last 3 years. Due to life circumstances, for a few years I had to store my paintings at a separate location. But in the fall of 2018, they came back into our home.

All 185 of them! We used the transportation and unpacking process as an opportunity to do a really thorough inventory and documentation of all the works I’ve made and kept over the last 18 years. This count does not include works I’ve sold, traded, given away, or painted over.  I’ve been busy.

Just a Small Sample 

But once they were all accounted for, we still had the problem of how to store them. I had the idea of constructing a two tier painting storage rack out of plywood and 2 x 4s. I did various sketches, contemplating the best methods for joinery and assembly.

When I showed my drawings to my wife Michele Bledsoe, she made one of her typically insightful comments: I was basically drawing something with the structure and dimensions of a bunk bed. There was no need to try and fabricate a stable, load bearing structure from scratch. We just needed a cheap bunk bed frame.

One trip to Ikea later, and I had a painting storage rack that could be assembled in an afternoon. It was $169.00. The raw materials for a wooden rack would have probably been cheaper, but avoiding the frustration my crude carpentry skills would have caused is priceless. I lined the beds with cut down sheets of cardboard from the boxes the bed came in.

The few largest paintings (3′ x 4′ and bigger) I have resting on the floor between the bed and the wall, elevated on strips of wood. All the rest now are safely stored on the adapted bunk bed rack. My paintings are lined neatly up by size, front to front, back to back, with dividers of cardboard and foam core for extra safety. My painting storage problems are solved!

 

The Big Ones Get Their Own Dedicated Space 

 

A stepladder helped in loading small works on the top tier 

 

The Great Ikea Painting Storage Rack Hack

Room for Plenty More! 

 

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

 

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

 

PAINTINGS: “Gentlemen Astronomers,” My First Completed Piece of 2019

 

Richard Bledsoe “Gentlemen Astronomers” acrylic in canvas 24″ x 30″ 

 

Starting off the new year with a piece that I’ve been working on since September 2018. I completed Gentlemen Astronomers on Friday January 4, 2019.

This one became a study in moonlight.

 

Symbols give hints. They gesture. If you follow their indications, you find yourself gazing upon the unknowable complexity and profundity of existence.

I no longer work from preparatory drawings or grids. I create the images by painting them directly out on the canvases. While working on the paintings, the most effective results happen when I’ve become so absorbed in the process that I’m aware of nothing else. In fact, it’s like I’m aware of nothing at all.

I vanish while my paintings get applied to the canvas. I have the continuous experience of stepping back from the work to see it, and it’s like I’m stepping out of a trance. I’m constantly surprised by what I see has appeared on the painting, because I have no memory of doing it. Turning myself over to this receptive state allows something beyond my own capacities to take over. My best achievements are works done through me, rather than by me.

-From the book Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, by Richard Bledsoe. Buy from Outskirts Press Here

 

PAINTINGS: “Do the Work,” a New Collaboration by Michele and Richard

Michele Bledsoe and Richard Bledsoe “Do the Work”

acrylic on canvas 12″ x 6″

 

Michele Bledsoe and I have completed the third piece in our ongoing collaborative series.

As we develop our art and our lives together, we have found inspiration in a book by Steven Pressfield:

Do the Work.

“A child has no trouble believing the unbelievable, nor does the genius or the madman. It’s only you and I, with our big brains and our tiny hearts, who doubt and overthink and hesitate. Don’t think. Act.”

-Steven Pressfield

Michele and I both created our own painting in our own unique style, but allowed a dialogue to form by the interaction of our individual efforts.

Michele compared it to having an intimate conversation.

The process of working on a piece together was so enjoyable that we will continue to collaborate. We hope to someday have a show of just our shared pieces. Watch this space for future updates.

 

Previous Collaborations:

Tusk

Blind Mugwump Johnson 

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.

 

STUDIO: Knowing When to Reuse a Canvas

Richard Bledsoe”Each in Their Garden” 30″ x 30″ 

Working as an intuitive artist carries risks. I paint directly onto the canvas from out of my imagination. I don’t work out problems in advance with preparatory sketches. I don’t cheat by letting a projector make my discoveries for me, and be a substitute for my own draftsmanship. I work to coordinate my mind, my hand, and my eye, to communicate the subtlety of inner vision.

The risk is I don’t always succeed in producing an effective image. This is okay, because I always have multiple paintings going at the same time. I put the unsatisfactory canvas aside.

I mentioned the Room of Shame in a previous post. It’s where the unfinished paintings wait. Some I will pull out and bring to proper resolution. But some are past saving. Case in point: Each in Their Garden. 

The title is a reference to a short story by H.P. Lovecraft. I’ve had a vision of the prehistoric monumental chaos he describes in his mythos. I attempted to depict it on this 30″ x 30″ canvas. It ended up murky and congested. The more I tried to fix it the less cohesive it became.

The seething image I can see in my mind didn’t make it into this picture. It’s become too overworked to repair.

I am so unsatisfied with it I’m going to start an entirely new image on the canvas. It is still a vision of chaos, but in a much more tangible form. I’m excited to get to work on it.

I did want to give Each in Their Garden this one acknowledgement, because parts of it I really enjoy-mostly in the upper half of it. I will take what I learned from this, and move on.

 

“The making of true art is man’s desire to communicate with himself, his fellows and his God. Art that fails to address these issues is not art.”

-The Remodernist Manifesto