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

In the Weeds: Kehinde Wiley’s Obama Portrait 

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

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

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

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

Con Artist 

Kehinde Wiley

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

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

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

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

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

.Outsourced to Forced Labor 

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

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

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

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

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

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

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

.Vicious Virtue signalling

Classical 

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

.Sperm

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

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

Photo Credit: Vigilant Citizen 

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

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

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

 

Wiley: Napoleon is coming over the Alps 

Who is the wackadoodle now?

Establishmentile Dysfunction

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

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

 

 

 

 

 

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COMMENTARY: Establishment Art’s Ingrained Indoctrination and the Postmodern Manifesto

EDIT: March 23, 2018. I’m so excited, we are going to see Jordan Peterson speak on June 1. He’s done much to expose Postmodern corruption in the culture. In honor of the upcoming event, I’m reposting a previous essay on the topic. 

love

Maurizio Cattelan “L.O.V.E.” marble, 36′

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“There are these two young fish swimming along and they happen to meet an older fish swimming the other way, who nods at them and says ‘Morning, boys. How’s the water?’ And the two young fish swim on for a bit, and then eventually one of them looks over at the other and goes ‘What the hell is water?'”

-David Foster Wallace, Postmodern novelist

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The quote above does a good job converting the rhetorical question “Does a fish know it is is wet?” into a lightly amusing anecdote, a brief fable which delivers its twist ending of wisdom as if it were the punchline for a joke. What’s not so funny is the truth that the story demonstrates, and its implications for the state of our civilization today.

To understand the crisis we find ourselves in, it’s instructive to look at the cultural assumptions and preferences of our so-called ruling classes. Their presumptions can be tracked based on the visual art they collude to promote and subsidize. The contemporary art market is another weapon in their arsenal, a way they can inflict their will on society in the form of punishment, disorder, degradation, divisiveness, and heavy handed instruction.

In the recent past George Orwell was able to advance an accurate definition: “Liberal: a power worshipper without power.” But what happened in the meantime was the forces of liberalism/progressivism/Marxism/whatever-they’re-calling-themselves-now-ism managed to drag the cultural focus onto favorable terrain for themselves. Our would-be masters have woven a make-believe world where their particular skill sets dominate; for decades their influence has metastasized throughout our institutions. Art just happens to be a field where it’s easy to see the damage they’ve caused. We are enmeshed in the Matrix-like reign of a toxic philosophy which can referred to by the ambiguous term Postmodernism.

It seems so simple, just a description for what happened after the Modern age. Even though many people still refer to any recent baffling example of artistic excess as Modern art, the underlying principles that made art (and by extension our culture) Modern have been dead since the 1960s. Postmodernist thought started in academia, but has since bled out so its dogma now dominates our politics, media, and especially the arts.

kruger

Barbara Kruger “Belief & Doubt” installation, The Hirshhorn Gallery, Washington D.C.

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I’ve written before on how elitists push this ideology because it makes an effective tool of oppression. To be Postmodern is to be relativistic, cynical, narcissistic, and conformist. For those who might question such an interpretation, we are fortunate to have a document found posthumously among the papers of one of the leading advocates of this world view,  French writer Jacques Derrida (July 15, 1930 – October 9, 2004). Hugely influential amongst those susceptible to such pedantic banter, he pretty much summed up his accomplishments with this quote: “I’m no good for anything except taking the world apart and putting it together again (and I manage the latter less and less frequently).”

Derrida left behind a statement that bluntly summarizes the intentions of Postmodernism. I would suggest these days his ideas are like the water that we fish are ignorant of; propaganda so widely disbursed and unquestioned it’s invisible to us, even as we move through it, and are carried along by its flow.

Here is Derrida’s manifesto of Postmodernism: read it, and weep. Afterwards I give my thoughts on some of its precepts, and how I see us getting out of this mess.

Manifeste

1. The art of the past is past. What was true of art yesterday is false today.

2. The Postmodern art of today is defined and determined, not by artists, but by a new generation of curators, philosophers and intellectuals ignorant of the past and able to ignore it.

3. Postmodernism is a political undertaking, Marxist and Freudian.

4. Postmodernism is a new cultural condition.

5. Postmodernism is democratic and allied to popular culture.

6. Postmodernism denies the possibility of High Art.

7. Postmodernism deconstructs works of High Art to undermine them.

8. Postmodernism is subversive, seditiously resembling the precedents it mimics.

9. Postmodern art is pastiche, parody, irony, ironic conflict and paradox.

10. Postmodern art is self-consciously shallow, stylistically hybrid, ambiguous, provocative and endlessly repeatable.

11. Postmodern art is anti-elitist, but must protect its own elitism.

12. To the Postmodernist every work of art is a text, even if it employs no words and has no title, to be curatorially interpreted. Art cannot exist before it is interpreted.

13. Postmodernist interpretation depends on coining new words unknown and unknowable to the masses, on developing a critical jargon of impenetrable profundity, and on a quagmire of theory with which to reinforce endowed significance. Vive le Néologisme!

Long live the new word-ism? No thanks. we’ve had more than enough.

Some comments:

“The art of the past is past. What was true of art yesterday is false today.”

Says who? No one I recognize as any kind of authority.

“The Postmodern art of today is defined and determined, not by artists, but by a new generation of curators, philosophers and intellectuals ignorant of the past and able to ignore it.”

This plays into the Leftist conceit of the New Class: that in the Utopia to come, Some Animals Are More Equal Than Others, and they get to call the shots. It is the dream of every progressive to join this most favored status clique.

To deny history is to deny any accountability for their achievements, any objective measure of their performance. So self-serving.

“Postmodernism is a political undertaking, Marxist and Freudian.”

Of course it is. The culture must be sacrificed to avenge their feelings of envy and inadequacy.

“Postmodernism denies the possibility of High Art.”

They deny it because they lack the means to accomplish it. Sour grapes.

“Postmodern art is self-consciously shallow, stylistically hybrid, ambiguous, provocative and endlessly repeatable.”

Real art is deep enough to support extended contemplation. It makes a definitive presence. Ambiguity is wishy washy compared to evoking enduring Mystery. To provoke is a minor reaction compared to inspiring. There is a magic inherent in the unique object made by human hands, heart, and mind working in conjunction each other.

Post modern art basically fails to actually function as art in every significant way.

“Postmodern art is anti-elitist, but must protect its own elitism.”

Postmodernists attempt to deny judgement, ratings of quality and effectiveness, because their own offerings are so feeble. The elitism they draw upon is the status in the herd, the correct observations of the obligatory declarations of loyalty and subservience to the hive mind, and the opportunity to bask in the reflected glory of their controllers.

“Postmodernist interpretation depends on coining new words unknown and unknowable to the masses, on developing a critical jargon of impenetrable profundity, and on a quagmire of theory with which to reinforce endowed significance…”

Real intelligence actually communicates very clearly and concisely. What the Postmodernist suggests is like mumbling to hide the fact you don’t know the answers. This world of sophistry and distraction is crumbling. The elitists are panicking, and attempting to convert their minions into shock troops to protect the status quo hierarchy.

banksy

From Banksy, the anonymous millionaire creator of half-baked editorial cartoons 

The perpetrators of Postmodernism have gone beyond parody with their ridiculous posing, but it’s no longer harmless. From on high, the supplicants of the art world are receiving their orders: the culture must stop changing so the current power brokers remain in charge.

The obedient little fishes synchronize swim down the polluted stream issuing from practically every channel, doing the bidding of smug social media giants, partisan networks, repressive universities, biased newspapers, establishment politicians, empty headed celebrities, corrupt Hollywood, despotic foreign governments, and compromised corporations.

At the same time the little fishes flatter themselves that they are brave rebels, fighting the power. That’s what their masters are telling them that they are.

That disconnect takes an especially determined kind of ignorance.

shia

Exhibit A: Shia Lebeouf, being divisive

There is already a sound artistic philosophy ready to take the place of the defeated dead end of Postmodernism.

Remodernism is a reboot of the culture. It takes the energy, vitality and exuberance of the Modern era and integrates art back into the mainstream. Remodernism reverences art as a means to bring communion and connection. Billy Childish and Charles Thomson created an open source art movement which is in perfect sync with this new era of renewal.

Come on in, the water’s fine.

 “Remodernism discards and replaces Post-Modernism because of its failure to answer or address any important issues of being a human being.”

-Billy Childsh and Charles Thomson, The Remodernist Manifesto

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

 

ARTICLE: The Death of University Art Programs, Part 4: The Subsidized Sedition of Establishment Art Schools

 

No “Social Practice” Art is complete without selfies 

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Mark Twain once observed ““The difference between the almost right word and the right word is really a large matter—it’s the difference between the lightning bug and the lightning.” The same analogy can be applied to the almost right and right principles of “social justice” versus “justice.”

“Social Justice” claims to be about fairness, which is a highly desirable outcome. But the term is a manipulative Newspeak euphemism for envy, revenge and oppression.  What social justice actually does is crush people into group identities which have been assigned favored and non-favored status by  power hungry establishment elitists. Preemptively claiming group guilt or privilege is an abstraction which does not recognize the actuality that people are individuals, responsible and accountable for their own actions. It’s the opposite of real justice.

We have come to call this collusion against the values of Western civilization Postmodernism. Social justice ideas are the propaganda our corrupt governing class uses to distract and inflame their mob rule shock troops. These cunning perpetrators use art as one of the weapons in their arsenal to undermine the rule of law. The totalitarians utilize their money and connections to enforce the results they want. Our universities are willing accomplices to this abuse of the arts.

Artnet reports on their latest maneuver:  “Yale School of Art Launches New Art and Social Justice Initiative” . They positively preen about it:

“The program, developed by the Stavros Niarchos Foundation Dean of the Yale School of Art, Marta Kuzma, is funded by a recent $750,000 donation from an anonymous Yale alum. The money will be put toward research, scholarships, projects, and other academic resources across the graduate school of art, as well as a series of lectures and panels open to the whole university, aimed at exploring the intersection of art and social engagement.

“The initiative is largely a product of an ongoing conversation between faculty (Kuzma, in particular) and graduate students about addressing issues around artistic production amid the current social and political climate. This is, however, part of a larger trend, with numerous MFA programs reframing themselves around ‘social practice’ art.”

The fraud committed is exposed in the first line of the New York Times article Artnet linked: “Carmen Papalia’s M.F.A. project doesn’t look much like art.” A blind student led a bunch of virtue signalling lemmings on a closed eye tour. In true millennial style, the participants made sure to broadcast their  panic attacks and subsequent engorged wokeness.
Such gestures don’t look like art because they are not art. An exercise in generic consciousness raising  has nothing to do with a skilled and insightful personal expression of spiritual values. It’s a gimmick, a publicity stunt to advertise the politically correct values of the participants.
Postmodernists thinks they can use language and prestige to reprogram the fundamental needs of humanity. The establishment wants to redefine the timeless experience of art into knee jerk genuflections before the idol of Social Justice. In my upcoming book, “Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization,” I note the following:

“In the blind alleys we were directed into, the criteria being used to evaluate the works seemed on the surface completely arbitrary. But in fact, the feebler the efforts were, the more opportunities it gave to launch into peripheral diatribes regarding half-baked sociology, aggravated psychology, convoluted technobabble and the like. This was the kind of talk that got these teachers really excited, subtly reinforcing that this was where our attention ought to be focused. They were indoctrinating us into the Postmodern way.

“Rewarding certain behaviors encourages more of those types of behaviors. And so most students were dutifully herded into producing slapdash experimental works, and talking about activism, therapy and pedantic minutia, rather than trying to understand if an artwork functioned effectively on its own terms, as art. It was easier to adopt the lofty lecturing tone of the instructors, to curry favor by asserting the approved beliefs and attitudes.

“Encouraging attitudes of grievance and victimization, or highlighting incidental matters of process or technique, does not lead to powerful art. But it does lead to the generation of thought police, dependent personality disorder types, and detached technocrats—all useful cogs for the Leftist machine. The indoctrination continues.”

The New Aristocracy of the Well Connected are desperately funneling resources to maintain their current dominance. This anonymous Yale grant is just the latest example of Postmodernism’s key priority: controlling the narrative. It won’t work. Contemporary art is undergoing a crisis of relevance.  Pouring money into training a new generation to create non-art for the SJW scene will only make our current culture industries more irrelevant than ever.

See the previous articles in The Death of University Art Programs series linked below:

Part 1: Eric Fischl

Part 2: The Corcoran Collapse 

Part 3: Ignorance as a Method of Critique 

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

ART QUOTES: Do the Work, Part 3

See ART QUOTES: Do The Work, Part 1 Here

See ART QUOTES: Do The Work, Part 2 Here

William Blake “The Song of Los” 

To create a little flower is the labour of ages.

-William Blake

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Image result for john singer sargent

John Singer Sargent, “Carolus-Duran”

Mine is the horny hand of toil.

-John Singer Sargent

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Fernando Botero “The Family” 

My work is a self-portrait of my mind, a prism of my convictions.

-Fernando Botero

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Georges Braque: Atelier VIII is a summation of everything Braque had learned about art during his long life.

Georges Braque “Atelier VIII”

One day I noticed that I could go on working my art motif no matter what the weather might be. I no longer needed the sun, for I took my light everywhere with me. 

-Georges Braque

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Odilon Redon, “The Cyclops” 

The good work proceeds with tenacity, intention, without interruption, with an equal measure of passion and reason and it must surpass that goal the artist has set for himself. 

-Odilon Redon 

COMMENTARY: 1962 – The Changing of the Avant-Garde

 

Andy Warhol, 1962

“As disturbing as it was, we continued with the Pop generation, which in the meantime has made its own reputation.”

-Sidney Janis, American gallerist, 1896-1989

*Update: Richard Bledsoe will be offline for an extended period due to an unexpected medical situation. I am Richard’s wife, Michele Bledsoe – and for the interim I will act as his hands and eyes. 

The following is a section from a major work-in-progress about art and culture Richard is writing. 

1962 was the end of the Modern Art era. Much like the Salon des Refusés ushered in the Modern Era in 1863, it was another art show that gave evidence of a definitive shift in the culture.

The influences had been gathering for years, before coming together in a definitive event. In this case the tipping point was an art show located in a temporarily rented store front – a pop-up gallery, we would say these days.

The International Exhibition of the New Realists opened on October 31, organized by New York City gallerist Sidney Janis. With this show, the Postmodern era had arrived.

International Exhibition of the New Realists, 1962

We’ve come to call it Pop art, the opening gambit of the generational shift in art and culture the Janis show encapsulated. It featured future superstars Andy Warhol, Roy Lichtenstein, Claus Oldenburg, Yves Kline, Christo, and many others.

The reigning dominant critic Clement Greenberg’s grip has slipped. His preference for abstraction had dominated the 1950s art world. After the exile of representational art, it was back with a vengeance, but also with a twist.

Pop art was easy to like. On the surface it was bright and playful; instant gratification art. It aspired not to inspire, but to be ironic. The recognizable imagery depicted was coming not directly from life, but was reproduced from the filtered and stylized presentations of industrial mass media: advertising, Hollywood, newspapers, comic books and television. From its inception, The Postmodern era was informed by the illusions, distortions, and manipulations these mediums employed.  Postmodernism is very useful for those who have something to hide.

But back in 1962, it was a scary Halloween for Janis’s existing stable of abstract expressionist studs. Some of the biggest names in Modern painting quit his gallery after the audacious show. Departing artists Mark Rothko, Robert Motherwell, Philip Guston, and Adolph Gottlieb had struggled for decades in obscurity before the agendas inflicted on the art world turned in their favor. For a brief time, they were the pinnacle. But in the early 1960s a new set of ideas was rising.

The art on display in The New Realists show was not just another variation on Modernist priorities, another facet of Modernism’s typical fragmentation. The new way was basically a repudiation of everything the aging Modernists thought they stood for.

I select this Janis show as the Postmodern starting point because of its consequences. The changing of the guard was plain for all to see in the tempest in a teapot scale of the art world. The Action painters were driven to take action, but it was already too late.

Displaced: Philip Guston, Jimmy Ernst, Seymour H. Knox, Jr., Franz Kline, Robert Motherwell, and Mark Rothko

THIS IS WHAT HAPPENED: Vintage Music Reviews-Rudimentary Peni “Cacophony”

*Update: Richard Bledsoe will be offline for an extended period due to an unexpected medical situation. I am Richard’s wife, Michele Bledsoe – and for the interim I will act as his hands and eyes. 

A few years ago, Richard used to write for the punk ‘zine AZKAOS. This was one of the vintage music reviews he contributed from 2010.

Rudimentary Peni “Cacophony” Album Cover Art by Nick Blinko

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Rudimentary PeniCacophony

1989

Outer Himalayan Records

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And then the matter of that phonograph record…It must mean something; whether animal noises deceptively like human speech, or the speech of some hidden, night-haunting human being decayed to a state not much above that of lower animals.

  -H. P. Lovecraft   

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Does genius lead to madness, or is the other way around? Mental illness in reality is usually a drab and frustrating situation. The romantic cliché of the brilliant lunatic persists though, supported by the occasional rise and fall of some inspired martyr; there is some truth to the template. When an inventive mind gets caught up in a wave of mania, astonishing creations can occur.

The Rudimentary Peni album Cacophony feels maniacal, as if it were recorded at the height of some delusional frenzy. A rare hardcore punk concept album, an obsessive riff on horror pulp author H.P. Lovecraft, it captures that writer’s atmosphere of melodramatic creepiness. The recording seems like an organic whole; songs blend into one another, connected by snippets of dialogue and sound effects, racing along at breakneck speed. It is one of those records to be played in its entirety, to better appreciate the story arc.

Rudimentary Peni (named for a biology class definition of clitorises) grew out of the busy London anarcho-punk scene nurtured by the musical collective Crass. RP’s front man Nick Blinko is the songwriter, guitarist and singer; he also produces the horror vacui outsider art that illustrates the albums-teeming landscapes of grimacing faces, skulls and religious icons. Blinko could be a character out of a Lovecraft work-a talented outsider whose mind was broken by the pursuit of arcane knowledge. Diagnosed with schizoaffective disorder, Blinko has spent some time institutionalized for his condition.

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Nick Blinko Artwork 

 

Despite the burdens of Blinko’s mental state, and all the growling death rock themes explored, Cacophony is a rollicking, playful album, bursting with excitement at its own inventiveness. The lyrics echo Lovecraft’s quaint verbose style in a manner that is both tribute and satire. The content veers between Lovecraft’s biography, his works, and more oblique rants. The original vinyl fortunately came with a 6 page lyric sheet, because the elaborate, articulate poetry Blinko wrote is often buried in layers of distortion and noise, or is barely intelligible. Blinko produces literally dozens of accents in his vocals-he chants, mutters, shrieks, hisses, croons and babbles; it’s an amazing theatrical performance. “Things have learnt to walk that ought to crawl,” he croaks in one interlude. Some pieces are nothing but sounds-chattering teeth, rude squishy noises, wheezing or screaming; others are little collages of tombstone inscriptions or buzzing alien voices.

The music swings between tight little punk gems and ominous droning soundscapes. The catchy hardcore passages throughout the album suggest Zen Arcade vintage Husker Du. In “The Only Child, ” about a bad seed murderous little girl, the delivery is a snarling Exploited style stomp; “Arkham Hearse” swings with a Sex Pistols sneer. “Dream City” warbles like the Buzzcocks: “The weedy old spires like veins in marble/The old gold domes/were just ancestral homes/The citadels of yore with their broken bronze bells/ tottering towers/shadowy staircases/spiral like ammonites…”

Rudimentary Peni, despite some hiatuses, continue to release albums, though nothing has ever topped this perfect storm of cult influences. Cacophony works on many levels-it ranges from being sinister and aggressive to being literate and tongue in cheek. It presents horror with mighty impact but doesn’t take itself too seriously. This highly personal and entertaining experimental album is a neglected masterpiece.

More Nick Blinko Artwork 

 

 

 

 

 

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

Ragnar Kjartansson: Spitting Mad 

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

The Remodernism Manifesto

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