An Elitist Professor Evangelizes On How the Dysfunctional Art World Functions

Straight From the Horse’s Ass

Professor Magnus Resch Lectures the Little People

Like the latest ongoing Hunter Biden pay for play art scheme exposes, the establishment art market is a corrupt scam. At its core, there are probably not more than a few thousand globalists involved in this shady business, which was estimated to have reached over $64 billion in sales as of 2019. As the great critic Robert Hughes once observed, “Apart from drugs, art is the biggest unregulated market in the world.”

By the way, regulation isn’t a solution here. It would only add more layers of graft.

At least drug lords actually have to deliver the goods to receive their ill-gotten profits. The art world is racing into making intangible nothings like NFTs or invisible sculptures just as valuable as the exquisite examples of human skill and insight which used to earn the designation of masterpieces. The white collar criminals involved only care about enabling money laundering, tax evasion, and insider trading. Actual artwork is becoming an unneeded middle man, revealed as just a flimsy excuse for whatever illicit financial transactions they need to disguise.

A faction of this cartel is after more than just money. They are Marxists bent on world domination. Undermining the culture in order to undermine the people is their primary goal, so they invest their money in the most ridiculous anti-art available. Because of the status and clout of this cabal, they have warped the market into a travesty, substituting propaganda, irrelevance, carrion, excrement, pornography, and debris for art.

This puts contemporary artists in a terrible situation. The manipulators of the market demand conformity with their debased agenda if an artist is to have any chance of advancement. Yet the disgusting non-art pushed by the compromised cultural institutions have ruined art’s reputation with the general public. How can an artist who actually wants to make quality art get anywhere?

Under the corrupt status quo, they can’t. Now someone who is part of the problem, a member of the New Aristocracy of the Well Connected, is stepping up to explain how artists and audiences need to knuckle under to the unprincipled New Normal.

Like many elitists, it looks like art economist Magnus Resch likes to play the credentials game. His resume includes business studies at Harvard and the London School of Economics, and teaching at Columbia and Yale. The real world results of Ivy League alumni shows those entities are ground zero for the much of the rot our culture is undergoing, but because the establishment is a closed system, the privileged expect to be shielded from the consequences of the destruction they cause.

Resch has a new book to hawk, How to Become a Successful Artist. On the one hand, it seems he is presenting  a fair assessment of the dire reality of art as a business. But on the other hand, he is hyping divisive Cultural Marxist virtue signaling filtered through Big Tech as the way forward. In Cultured magazine, Resch states:

“My vision is an art world that is transparent, fair and equal and embraces new technologies. Exhibitions are curated via swarm intelligence, not through the selection of a few so-called experts with an art history degree. A more diverse group of artists will finally get museum recognition, supported by a healthy gallery system that is adjusted to the number of buyers. This will attract a new generation of art buyers whose focus is on purpose, rather than profit. They understand that buying art is not just the purchase of an artwork but a philanthropic investment. The questions responsible art buyers will ask are not, ‘How much can I sell it for in 5 years?’ but, ‘How will my purchase support a community and align with my values?’”

From his ivory tower, Resch is elitist-splaining to us how we should not expect quality art which has long term worth. Instead, we should make affirmative action selections in art which will allow us to preen about how we are supporting some preference group. Whoever gets to program his “swarm intelligence” will doubtlessly control what the favored outcomes are. The promoted will be selected due to ideology, skin color, sexual preference, etc – nothing to do with artistic accomplishment. This attitude of bringing non-artistic concerns and lowered expectations into the art world will just continue the disastrous irrelevance of art.

I am curious to read Resch’s book. Not because I expect it will actually educate me how to be a “successful” artist, but because it will give me more insight into the unscrupulous system. The current art world configuration needs to be destroyed for humanity’s sake. Based on Resch’s misdiagnosis for the solutions, it should be even easier to break the monopolistic fraud by presenting real art to the people, and bypassing the establishment’s alienating assumptions and attitudes.

As I described in my 2018 book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:

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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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a painting

Learn more About My Art: Visionary Experience

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

The Invisible Sculpture Sale is Symbolic of the Systematic Shams Elites Expect Us to Swallow

Artist sells 'invisible sculpture' for $18K | Fox News

You Ain’t Seen Nothing Yet:

The $18,000 “Immaterial” Sculpture

The art world is in a crisis of relevance these days. Just about the only time art gets attention outside the culture industry cocoon is when it can exemplify stupidity, envy, or a combination of the two.

Stupidity comes when a PR hungry artist performs a silly stunt, like taping a banana to the wall. Or puts their dirty unmade bed into a gallery

Envy is invoked when a stunning sales price is announced. Most understand a high value for rarity and quality, such as a presumed work by a master like Leonardo Di Vinci; the uncertain Salvator Mundi sold for $450 million in 2017. People wonder how anyone could have that much money to spend on something made just to look at, and imagine what they could do those kind of funds.

But usually the art selling for inflated amounts doesn’t have that kind of legendary provenance. It’s in Modern and Contemporary art where foolishness and asset covetousness come together most clearly. It occurs when the general public sees obvious scams lavishly rewarded. The banana sold for $120,000. The unmade bed is valued at over $4 million now. The populace rightly scoffs at the sheer folly on display.

Salvatore Garau, an Italian trickster, produced a recent example of expensive non-art. His “immaterial” sculpture Io Sono (I Am) sold for $18,000. The piece does not exist. What the purchaser received for their money was the artiste’s word salad poor excuse for an explanation and a gen-u-ine “certificate of authenticity.” The patron must keep a 5 foot square space available for the nothing to be on display; fortunately, it does not require any special lighting or climate control. What a bargain.

There’s many unsavory factors festering under the surface in the art market. Money laundering, tax evasion, and insider trading doubtlessly drive the high financing. And yet there is something more sinister at work here than white collar crimes.

The villains aren’t the con artists who produce, or pretend to produce, ridiculous rubbish in the name of art. They’re just bit players. The real source of dangerous and deliberate derangement is the globalist New Aristocracy of the Well Connected. They’ve inherited and/or invented a whole phony world we all are expected to play along with.

The establishment has mislabeled hoaxes as art for at least a century. In 1917, a mentally ill woman submitted a urinal to an exhibit. The French charlatan Marcel Duchamp later took credit for it as a new form of expression; in fact, a higher form of expression, where something which is obviously not art becomes art by relying on elitist acceptance and support to function.

If you don’t accept a urinal – or an invisible sculpture, or a banana, or dirty linens – as art, well, that just proves you are one of those knuckle-dragging mouth breathers with deplorable Neanderthal thinking. The members of the club-they get it. Don’t you want to be a member of the club?

Art was just the thin edge of the wedge. It’s like visionary William Blake tried to warn us, “Empire follows art and not vice versa.” After the establishment weaponized art into an assault on reality itself, and made it a litmus test for social status, they’ve rolled out numerous other deceptive mandates to obey.

It’s so much worse than just having an opinion on an ambiguous situation. Again and again, the actual evidence contradicts the elitist position. Instead of accepting reality, our ruling class assume they can will their preferences into existence just by agreeing amongst themselves, insisting the rest of us go along with them, and blocking any channel for the truth to come out. It’s extra convenient for the in-crowd to advocate for any absurdity that comes along, because as elites they are not held to the standards of behavior they demand of others.

Our Postmodern Progressive overlords have developed a long list of required false beliefs for their followers to conform to: man made climate change is an emergency. Systematic racism exists. Citizens don’t need guns. The problem with the Middle East is Israel. Speech is violence and violence is speech, depending who the speaker is. Men can become women or women can become men just because they want to. Abortion is not infanticide. Defunding the police will lead to safer communities. The Woo Hoo flu is such a danger we must give up our Constitution. That same Woo Hoo flu was not released by the Chi Coms accidently on purpose. We did not just experience the most consequential and blatant election fraud in history. Joe Biden is not a perverted vegetable. Patriots are domestic terrorists. All will be well if we submit to our Postmodern Progressive overlords.

I bet if you believe one of these delusions, you believe them all. Congratulations, you’ve been successfully indoctrinated!

We’ve gotten to the point where there is such a disconnect between elitist desires and reality, it is a threat. The danger comes from just how far the establishment will go to maintain the illusionary world they’ve schemed into existence. The elitists believe they have power because they are just that much better than everyone else, not because they are willing participants in a consolidated combine of lies and cronyism. It will hurt to lose their prestige. They will defend it viciously.

Art is good place to start, to help ease the establishment out of their attitude of omnipotence. Hans Christian Anderson nailed the situation when he wrote “The Emperor’s New Clothes.” We all need to be the little boy speaking truth to power.

The Emperors are naked. There is no invisible sculpture. And the whole Marxist program is based on lies.

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RICHARD BLEDSOE is a visual story teller; a painter of fables and parables. He received his BFA in Painting from Virginia Commonwealth University. Richard has been an exhibiting artist for over 25 years, in both the United States and internationally. He lives and paints happily in Phoenix, Arizona, with his wife Michele and cat Motorhead. He is the author of Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:

Remodernism is not a style of art, it is a form of motivation. We express the universal language of inspired humanity.

We do not imitate what came before. We find in ourselves the same divine essence of love and excitement which has inspired masterpieces throughout history. We are strengthened by drawing on traditions thousands of years old.

We integrate the bold, visionary efforts of the Modern era into a holistic, meaningful expression of contemporary life. Remodernism seeks a humble maturity which heals the fragmentation and contradictions of Modernism, and obliterates the narcissistic lies of Postmodernism.

Remodernism is the return of art as a revelation.

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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a painting

Learn more About My Art: Visionary Experience

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

DAILY ART FIX: New Painting “The Look”

Richard Bledsoe “The Look” acrylic on canvas 16″ x 12″

One of my recently completed paintings. I have been inspired to create a series of invented portraits, letting the painting process reveal characters to me. Once suggested, it becomes my role to realize the vision I was shown.

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.

-Richard Bledsoe, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization

Previous Works:

Man of Bronze

Listening

Overlook

**************

I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a painting

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

WFT: NFTs Are The Latest Establishment Art World Con Game

Beeple “Everydays – The First 5000 Days”

A Meme Where the Punchline is Somebody Paid $69 Million For It

The goal of the Postmodern era we are living through is an effort to establish histrionic personality disorders as our dominant social order.

The sociopaths who gamed and cheated their way into power cultivate miseducation, anti-social media, and nonstop propaganda to create a phony world where they can rule over an unstable and easily manipulated populace. The susceptible are herded into being vain, yet insecure; inflamed with rash emotions, yet fickle and forgetful; overly sensitive, but shallow. Orwell’s Doublethink worldview is elitist dogma at this point.

Recently another symptom of profound contemporary irrationality has surfaced in art.

The elites corrupted art institutions before they took on the rest of Western civilization, because they know “Empire follows art, and not vice versa,” as the visionary William Blake noted centuries ago. But even in occupied territories like the arts there’s still more damage to be done, and still additional opportunities to mint cultural degradation into money.

Just when you thought elitist art couldn’t get any more nonsensical or overpriced, here comes Non-fungible Tokens.

From My Modern Met: How NFTs Are Shaking Up the Contemporary Art World:

The buzzword of the contemporary art market right now is NFT. If you don’t know what all the fuss is about, you aren’t alone. The world of blockchains, cryptocurrencies, and crypto art isn’t easy to unravel for newcomers. But with NFT art selling for prices higher than a Monet, we thought it was time to investigate.

Is NFT here to stay? Are we looking at the future of art collecting? Or is it a fad that’s destined to fade away? Time will tell, but having a firm grasp on the basics will, at the very least, keep you in the know and maybe even turn you into a collector.

Check out answers to some of the most common questions regarding non-fungible tokens—or NFTs—and start to learn why people are paying top dollar for everything from digital collages to Tweets.

WHAT IS AN NFT?

Non-fungible token. More simply put, it’s a piece of data stored inside a secure record called a blockchain. These blockchains are encrypted in a way that ensures that the data inside cannot be modified.

While the cryptographic tokens used to create NFTs are similar to cryptocurrencies like BitCoin, the tokens in NFTs aren’t fungible, or interchangeable. So, it’s impossible to exchange one NFT for another, as one would do in currency. It’s often equated to an autograph, just on a digital file. And an NFT not only tracks the creator of the artwork, but also the ownership and market value.

HOW IS IT RELATED TO ART?

Because it is securely stored in the blockchain, an NFT is unique and non-interchangeable. Photographs, videos, gifs, audio, and really any digital file can be represented as an NFT. Even Tweets are being sold as NFTs! NFTs can be as original as a painting or as collectible as baseball cards…

WHY WOULD I BUY AN NFT IF I CAN JUST SEE THE ARTWORK, GIF, TWEET, ETC., ONLINE?

Things get a bit confusing in this realm. Yes, it’s possible to still see Jack Dorsey’s $2.95-million tweet on Twitter. And yes, an NFT of a popular gif may still be shared millions of times online. But, only one person is the actual owner of the content, and that is the person who owns the NFT. The Verge’s Mitchell Clark equates this to the fact that “anyone can buy a Monet print. But only one person can own the original.” [emphasis mine]

So paying top dollar for an arrangement of pixels is just like buying a painting? Here’s where the analogy breaks down for me. A painting is a unique physical object, made with the artist’s own hands – something especially precious in today’s mass production environment. No other tangible object can be that same thing; a print or reproduction may look the same, but it’s not. In fine art painting, those material components were applied by a particular person at a particular time onto a particular object. It is an unrepeatable moment in time, the result of a singular process.

(Don’t counter with the example of Andy Warhol’s prints made by assistants to give legitimacy to the value of surrogate art. Warhol was a prototype for today’s art market con games, and he would have been the first one to admit it.)

The so-called originals in NFTS are indistinguishable from their reproductions, unless you have the capacity to do a deep dive into the technology behind them, or if you chose believe in “The Certificate of Authenticity.” The Franklin Mint used to pass those out, too, on their schlocky tchotchkes. Ultimately, that’s what is being bought: a voucher from a dubious authority which claims the infinitely repeatable file purchased is somehow special.

What good is “owning” something that literally billions of others could have, with no detectable distinction between your “original” and their “copies?”

Take the art world headline star du jour, Beeple – please. He has Instagram followers! He’s collaborated with Katy Perry! Definitely evidence of his genius. Now Beeple is the $69 million dollar man for taking the crappy graphics he posted daily to his website for 13 years and clumping them together into a single crappy image. It’s right at the top of this blog, for free. If someone feels like sending in $69 million for the privilege of looking at it, be my guest.

Christie’s, a sleazy money-laundering operation posing as a serious cultural institution, saw the dollar signs dancing for whoever crossed this digital frontier, so they swung all their establishment clout behind the sale.  Of course, trying to open a new progressive tactic to manipulate for status and profit leaves NFTs vulnerable to the tried and true progressive tactic of deconstructive complaining.  There’s nothing Prig-gressives won’t defecate upon in their attempts to polish their woker-than-thou credentials.

The potentially non-diverse and not inclusive imagery of NFTs? Problematic!

One of the Many Quality Images Embedded in Beeple’s Masterpiece

“Upon closer review of Beeple’s viral crypto artwork, one finds an alarming amount of racism, sexism, and homophobia,” huffs Surface Magazine.

The amount of carbon emissions needed to generate NFTs? Problematic!

My Modern Met identified a smoking gun of blasphemy: computers use electricity.

…NFT isn’t without controversy. Part of the issue involves the cryptocurrencies used to purchase NFTs. Currently, cryptocurrency mining uses an exorbitant amount of electricity and so has a large carbon footprint. To put things into perspective, Bitcoin’s annual estimated electricity consumption for 2021 is 128 terawatt-hours. That’s more than what the entire country of Argentina uses in a year.


The website cryptoart.wtf once gave the estimated carbon footprint of a single NFT. It’s since been taken down following the misuse of information, which led to harassment. However, the creator, Memo Akten, stands by his decision to put up the website in the first place. “I believe we have a responsibility to be critical of businesses whose values are opposed to the values that we wish to see moving forward, while simultaneously we work towards building and supporting equitable platforms that avoid senseless damage to our planet,” reads a statement on the homepage. “CryptoArt is a tiny part of global emissions. Our actions in this space is a reflection of the mindset that we need in our efforts for larger-scale systemic change.”


Artists have been making their opinions on the matter heard in a number of ways. For instance, ArtStation’s plans to include NFT in its marketplace were halted after a social media outcry. Individual artists are also finding their own ways to reconcile the marketplace with ecologically sound practices. For his part, Beeple plans to ensure that his work is carbon neutral by giving money to projects that take carbon dioxide from the atmosphere. At the moment, that means investing $5,000 for one of his collections and he’s confident that other artists will follow suit.

I actually see a big connection between the climate change hoaxers and the digital art hoaxers. Both of these phenomena are ruling class gambits to rake in cash and prestige based on just making up shit, instead of actually producing something tangible of worth.


Postmodern elites can’t perform in the actual world, with its powerful forces of cause and effect. The universe doesn’t respect their preferences or bow to their authority. So, shielded by their manufactured Narratives, the elites are trying to form a substitute world, made in their own presumptuous, incompetent image.


The establishment needs a cloistered environment, a monopoly of thought where everyone is in on the scheme together, so they can try to will their dominance into becoming the only option available. They think they can rule by fiat; claiming digital files can be worth tens of millions of dollars is just the latest absurdity we are supposed to believe just because they say so.

In my 2018 book, Remodern America: How the Renewal of Art Will Change the Course of Western Civilization, I wrote about how the swindle plays out:

Billions are being spent on unskilled and intangible contemporary art. Just like in the good old days, many of the suckers are the newly rich or globalists looking for social credibility and a fast buck. There’s a lot of money laundering and tax evasion in the equation as well.


How does the art world convince well-heeled fools to part with their money, when they are offering so little real value in return? Simple. The art market follows the tried and true methods honed by generations of confidence tricksters: the elaborate pantomime known as the long con…


The long con is a complex, long term swindle that goes for big money. It requires intensive planning and execution, and a whole team of grifters working in unison. Fortunately, the payoffs are so great everyone can get a piece of the action. A unified front is crucial; the unwitting potential victim of the con must be surrounded by a cast of characters dedicated to the lowering of the mark’s defenses to gain access to their wealth.


Major money visibly changes hands these days at art auctions and art fairs. The whole machinery of these angles of the establishment art racket are the equivalent of the fraud technique called “The Big Store.”


The Big Store sets up a controlled environment where everyone except the marks are creating the appearance that they are transacting legitimate business. In the art market version, offering valueless art through once reputable auction houses or in the celebrity soaked version of a swap meet gives a veneer of legitimacy to the proceedings.
Everyone the mark might encounter at such events—artists, dealers, journalists, academicians, other patrons—everyone is invested in perpetuating the delusion. There’s careers on the line and billions of dollars at stake in keeping the hype alive, because hype is all that keeps this ridiculous bubble inflated.


There are lots of different parts to play in the Big Store. A “Shill” operates to promote the con game without revealing their personal stake in the outcomes. For instance, auction houses like to present themselves as if they were scholarly institutes objectively discussing the amazing importance of the works displayed. The fact they are looking to collect fat commissions from the sale of said objects is discretely overlooked.


The “Face” is a glamorous participant intended to distract the mark from thinking clearly. The glut of celebrities and Beautiful People that are drawn to exclusive art happenings guarantee buzz will exceed rationality during such events. The “Roper” is probably the most strategic player in the art market these days. This is a person whose affluence leads to influence, a savvy and powerful individual whose participation gives credibility to the whole enterprise. What is ignored is how much moguls like this manipulate the market to serve personal interests, using insider trading, shady financing and backroom deals to inflate the value of their own collections.


In any other industry, common practices of the establishment art market could probably lead to criminal charges. But in the unregulated free-for-all of the art world, it’s very hard to bring these cases of potential white-collar crime to justice, and the victims here are less than sympathetic. After all, the buyers are people who have so much money it’s meaningless to them. Who cares if a bunch of billionaires are getting ripped off?


It’s not really the suckered patrons who are the biggest victims here. Our society as a whole is being debased. By taking art, the manifestation of the soul of our culture, and replacing it with a cynical system that exists only to enhance egos and bank accounts, we’re undermining the quality of everyone’s shared existence.


These self-indulgent poseurs are subsidizing Postmodernism’s attempt to destroy Western civilization. The self-serving attitude of big money art world participants is a public disgrace, and it’s about time they were made to feel it. As a society, we need to speak out, and strip the prestige away from the nihilistic, expensive hackwork our institutions promote.


Recognize the actual agenda behind these baffling choices: it’s all about control.

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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a painting

Learn more About My Art: Visionary Experience

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

DAILY ART FIX: New Painting “Thought Bubble”

Art world links which caught my eye…

Richard Bledsoe “Thought Bubble” acrylic on canvas 16″ x 12″

One of my recently completed paintings. I have been inspired to create a series of invented portraits, letting the painting process reveal characters to me. Once suggested, it becomes my role to realize the vision I was shown.

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.

-Richard Bledsoe, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization

Previous Works:

Man of Bronze

Listening

Overlook

**************

I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a painting

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Nah, It’ll Be Fine: Entertainment Vlogger The Critical Drinker Hammers Cultural Corruption

The Critical Drinker, Conducting Some Vital Analysis

“Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth.”

 – Oscar Wilde

Living as we do now, encroached upon by creeping tyranny behind the Silicon Curtain, there are many topics we are not supposed to be allowed to publicly speak about. Election fraud; virus statistical manipulations and outright deceptions; government corruption and hypocrisy; incompetence and betrayals perpetrated by the political caste; all these subjects, and more, are verboten. Our credentialed classes act like they have the mutant ability to wish truth into the cornfield, so that our only choice will be to obey the whims of their cartoonish nightmare substitutes for reality.

Outside this network of the New Aristocracy of the Well Connected, we are expected to ignore the staggering evil unfolding in plain sight. Much of the populace seems to accept this. They lapse into the Brave New World soma option, which is really just a variation on a strategy as old as Roman bread and circuses. Sedate the masses. Use distractions to keep them docile.

The state of the art version of this is the onslaught of the establishment entertainment industries, pumping out endless shiny objects to the hordes of media addicts who are hungering for their next fix. Consuming show business commodities is their drug of choice. Who knows how many channels and services exist now, spewing series, sequels, prequels, reboots, rehashes, cinematic universes and universal sinning madness around the clock.

But there is a discordant note throughout the relentless entrancing broadcasting. The products being produced, which are intended to lull us into mindless passivity, incorporate misplaced content which breaks their siren song spell.

The Postmodern authorities who design mass media are greedy, and have totalitarian intentions. Everything is politics to these freaks; they won’t leave their ideology out of their efforts to beguile us. We’re supposed to be persuaded into collectivist submission by the addition of social engineering to the entertainment they offer up. However, grafting Cultural Marxist themes into art exposes how weak and off putting the ideas actually are.

Someone who excels in calling out when leftist activism ruins good story telling, common sense, and fun is the vlogger The Critical Drinker. His reviews are more entertaining than the lackluster blockbusters he ruthless analyzes.

The Critical Drinker is the alter ego of Scottish novelist Will Jordan, author of the Ryan Drake series of espionage thrillers. Right from the start on his Youtube channel, his commentaries on movies and television were very precise, verbalized in a sardonic yet straightforward style.

But with time, as Jordan continued to articulate pointed critiques against the philosophical corruption behind the poor quality of show biz these days, The Drinker became more of a persona. He mixes self-depreciating hyperbolic quips about his life as a debased sot into his reviews, now delivered in a slurred brogue as thick as the sarcasm.

The Drinker uses quick cutaways to a litany of film clips as punctuation to his comments. Snippets like Leeloo laughing, Tyrion puking, or Sam Neill bellowing are used as a shorthand reaction to the contemptible Hollywood handiwork which the Drinker, and the rest of us, are forced to endure. It’s crude and rude and becomes funny as hell as a running gag.

Perhaps the Drinker shifted gears as a strategy. Speaking out against the utter failures of the progressive status quo, he would be a prime target for cancel culture. But like Shakespeare’s Fool in Lear, the comic act grants license to speak the uncomfortable truth. The Critical Drinker sees the suicidal pattern of cultural deconstruction we’re being force-fed; the popcorn movie takedowns and fart jokes are camouflage for well-reasoned observations about the destructive failures of establishment culture.

The Critical Drinker’s philosophy is well presented in his video “How NOT to Critique Films.” He often receives comments about how his movie reviews overlook the redeeming power of politically correct themes, a major criteria in most criticism these days. He responds, “…things really start to fall apart when people decide what they’re going to see before they even see it, and then try to reinterpret the movie to suit their ideas…if you’re willing to stretch your imagination far enough, you can bend the plot of a film around just about any theme your twisted mind can come up with, and if every interpretation is equally valid, every interpretation is equally shit…themes aren’t a magical shield to protect a shitty film from criticism.”

The Critical Drinker explains how he looks at art as art, not in terms of activism. “…I want to be clear about how I go about reviewing an artistic work, and because I wanted to take a giant shit on anyone who doesn’t share this view. I’ve talked before about the problem of movies sacrificing narrative quality, character integrity, and simple dignity, in favor of politics and ideology…there’s been a real trend of people with lots of enthusiasm, but not much common sense, trying to deflect genuine criticism and make excuses for bad movies by pointing to stuff that has no bearing on their artistic merit…So what’s the endgame here? Are we expected to enjoy movies based on some theoretical idea of what they might represent, instead of how they actually function?”

The Postmodern establishment tells us the answer is yes. They are wrong.

Watch the whole thing, it’s worth it.

In another recent post, he dared to question China proxy Disney’s latest coming distraction, Cruella. “Now the year is 2021, and because apparently no one can come up with anything new anymore, we’re being treated to this piece of garbage,” the Drinker surls, as he dissects the sick corporation behind this pending flop. They’re stuck in a rut of unneeded, inferior live action remakes of classic animated features.

The Disney corporation, as vassels of an enemy state, demonstrate they are obsessed with undermining the past, trying to make villainy look cool, and preaching Wokeness. The Critical Drinker demonstrates there’s no entertainment to be found there.

Auteurs often claim critics are just bitter, driven by jealousy. The reasoning goes critics are themselves incapable of inspiration, so they seek to undermine the accomplishments of others. While that assertion is valid when applied to your typical SJW culture canceller, the Drinker demonstrates he is a real thinker who could outperform the hacks he harangues. His channel features a series called “The Drinker Fixes,” in which he describes major plot and character fumbles committed by the studios, and presents much more logical, character consistent, and compelling alternatives which could have been developed. It’s truly eye opening to imagine what might have been, if our creative class had any creativity, or integrity.

Andrew Breitbart was right when he stated politics is downstream from culture. We need more like the Critical Drinker who able to articulate what the scam is, and how wrong it is. We are being lied into oblivion. The controlled entertainment world is all in on their role as pure propaganda, an important means to enforce the totalitarian mindset. They have sacrificed actually producing art or entertainment in favor of just being another way to deliver Groupthink.

This is the natural conclusion of the parasitic Postmodern mentality. However, one of the ways to best challenge the elitist monopoly is through independent art. What the establishment puts out is so unappealing and false, it’s an area of vulnerability for them. Remodernism is the set of ideas and ideals taking on Postmodern corruption.

As I state in my 2018 book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:

“The Modern age was the greatest liberation of humanity in history. As we became more efficient in providing the necessities of existence, we had more freedom to determine what kind of lives we wanted to live.

“As Modernism rose to highlight the potentials of individual initiative, leftist political movements counterattacked. Their goal was to squash humanity back into undifferentiated, subservient masses.

“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.

“But this effort at control loses its presumptive prestige once its mechanics and motivations are exposed. How can the spell of Postmodernism best be broken? You can’t beat something with nothing, even if the something is as stupid and unfulfilling as Postmodernism. A credible alternative must be established.

“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.”

Indoctrination does not satisfy the human need for art. We have to call out the difference, now more ever.

That’s awl ah goat fur toady.

**************

I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a painting

Learn more About My Art: Visionary Experience

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

Update: Welcome Instapundit readers!

DAILY ART FIX: New Painting “Overlook”

Art world links which caught my eye…

Richard Bledsoe “Overlook” acrylic on canvas 16″ x 12″

One of my recently completed paintings. I have been inspired to create a series of invented portraits, letting the painting process reveal characters to me. Once suggested, it becomes my role to realize the vision I was shown.

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.

-Richard Bledsoe, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization

Previous Works:

Man of Bronze

Listening

**************

I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a painting

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

COVID, THE ARTS, AND OUR SKIN SUIT WEARING ESTABLISHMENT

Image result for covid fine art

Governing Class Manipulations are the Worst Pandemic of All

I was never a big Twitter user. So once they started in with the Stalinist censorship, it was easy for me to boycott them, as every freedom-loving person should.

I assume the pithy humorist Iowahawk is no longer on the platform. I may be wrong, but I won’t give them a single click to try and verify. Iowahawk’s little stilettos of wit were Wrongthink incarnate; whether he got kicked off or joined the stampede away from @Jack’s totalitarian tactics, I couldn’t say.

Over the years, one of Iowahawk’s greatest hits became a recurring meme on the blog Instapundit. Our Cultural Marxist dominated culture gave plenty of opportunities to apply it.

Back When Twitter Still Mattered: IOWAHAWK Nailed It

After the kamikaze elitist coup against reality that was 2020, it looks like our entire establishment is now attired in the flayed husks Iowahawk described. They’re strutting around like so many lamb silencing Buffalo Bills, decked out in, um, recycled finery, the rotting remains of what were once our enduring cultural assumptions. We peasants are supposed to look up from the pit they’ve thrown our society into, and tell them how pretty they look. It’s a grotesque display. 

I was reminded of the catastrophic lies we are expected to accept when I read a recent article about the Overblown Outbreak and the arts:

USA TODAY: Why We Need the Arts and Humanities to Get Us Through the COVID-19 Pandemic

“In addressing these issues, among others, society needs the work of scientists and health professionals to be informed by, and infused with, a wide range of human insight, experience and values,” the authors, Dr David Skorton and Dr Lisa Howley,  opine. “We need not just science but also the arts and humanities — and a union between them.”

Sounds reasonable, right? It ought to be, but you have to understand the bait and switch lurking in their sentiment. These doctors are wearing many layers of skin suits. They assume they can deceive us because we will still honor the institutional memories of the norms leftists have massacred and mutilated in their pursuit of unaccountable power.

First, they invoke Science. We are supposed to rely on it as our only hope:  “For 2021 to be brighter than last year, science and scientists must continue to play their indispensable roles, and must be taken seriously,” they intone.

But what is on offer is not science like it used to be, with careful collection and measurement of data, facts and evidence, tested and verified, peer reviewed and documented, to produce a reasonable, repeatable result. That is the skin we are supposed to see.

The truth behind the mask, and the masking, is “Obey me, because Science.” What we’re actually getting is Establishment Science, which is arbitrary, factless, incoherent, and nonsensical. We had to shut down the world for a virus with a 99.98% survival rate. The infection counts are based off unreliable tests which have found that samples of Coca Cola and papayas have Covid. The death counts are wildly inflated by claiming anyone “with” Covid died “of” Covid, which is not the same thing at all – let alone all the cases of flu, pneumonia, cancer, and even accidents, fed into the cooked Covid stats.

The demands of the Science they wield make no sense. We can go to Walmart, but not to church. Can’t go to school, but go ahead and join in with mass protests and riots. Even with a so-called “vaccine,” we are to remain masked and distanced forever. Why?

Consider the contradictory gyrations over time of a certain Dr. Fauci. He said at first no masks were necessary. Then he said that was lie he told the public (great ethics there Doc!) because medical professionals needed the masks and he didn’t want to run out – even though at the same time he said any old piece of cloth would do as a face covering. As if a bandanna could stop a virus. More recently he said two masks good, then recanted, then reversed again. Why anyone with a memory would believe anything this erratic bureaucratic hack says at this point is beyond me, but he is held up as the Voice of their specious Science, and we are all supposed to follow his deranged proclamations.

The authors treat the arts and humanities with the same misdirected appeal to long squandered creditability. They segue from science to the arts with a quote from a revered figure: “As no less a mathematician than Albert Einstein put it: ‘All religions, arts and sciences are branches of the same tree’ because all serve the same larger purpose — to uplift the lives of human beings.” But then they go on to define what they mean when they say art: “imagination and curiosity, communication and empathy, critical thinking and social advocacy (emphasis mine.)”

The first five descriptors are the skin suit we are to recognize; traditional ideas of what art can do. It’s what art used to provide. However, if these deceptive doctors were honest about the current state of our cultural institutions, they would eliminate everything except the last item on that list, “social advocacy,” which corrupt totalitarians want to tack on to every facet of human existence these days. When these characters say the arts and humanities, what they really mean is “poorly camouflaged leftist activism.”

In Establishment art, social justice warrioring holds dominion over all. Instead of unifying us during this time of Corona, they want us to bask in the uplifting experiences like those available from the Virginia Museum of Contemporary Art: “The pandemic of racism, the pandemic of lack of food access, those pandemics have been going on for many, many, many years.”

And from gallerists like the fellows at Passage Arts: “Their conversation spanned inequity, racism, the mis- and underrepresentation of indigenous voices, and the unequal power dynamic between galleries, artists, and collectors.”

Artist Charles Gaines offers up, “There’s another part to this, which is that I wanted to undermine universal notions. That came out of my lived experience as a Black person. If you’re Black, or if you look Black, there is a different set of rules than if you’re white. Being white has been [considered] a universal expression of humanity, and racism played into that by marginalizing people who are not white.”

Funny, it seems to me art is universal, and encompasses all times and all cultures. Art is as human as the opposable thumb, and just as prevalent. It’s older than agriculture. The arts and humanities could be a force bringing us all into harmony. But some cultivate fragmentation and factionalism in the arts, and in society in general, thinking it will bring them personal advantages they would otherwise not achieve.

It’s telling how Gaines describes the evolution of his own art: “… because my work of that period was not political. [Politics] really entered my work a decade later. To the world, it just looked like my use of grids and numbers was a continuation of the conceptual enterprise—and it took me a little while to understand the politics of that. My work just couldn’t get past a certain level of interest…But I reached a ceiling where I couldn’t get writers to write about me and curators weren’t interested in putting me in shows. The way I look at it, if I had got a bigger public profile, then I think Dia would have been interested.”

Paint by Numbers? Detail of artwork by Charles Gaines

The fast track these days is to cynically exploit progressive virtue signaling as a means of career advancement. Being a proclaimed activist artist allows mediocrities to garner attention while producing dull, dead end rehashes of ideas better explored by other artists.

The contemporary art world Establishment solicits proclaimed victimhood as a means of advancement, and it has devoured the industry. There’s no uplift to be had in preaching grievance, displaying covetousness, and trashing the mighty achievements accomplished by our forefathers. All this posturing is just another form of Cultural Marxist social engineering, which they accomplish through the manipulation of language, or to put it another way, lies.

The suffering and decline we are undergoing is meant to bring us to heel. What we are witnesses to is the practitioners of the toxic philosophy of Postmodernism making their big move to enslave humanity forever. As I state in my 2018 book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:

A quick way to summarize Postmodernism is to describe it as a kind of magical thinking among the intelligentsia. They have convinced themselves and each other that language shapes the world, and by controlling the social narrative, they can force the universe into obedience.

The Modern era questioned truth and the nature of reality. Postmodernists flatly declare there is no such thing as truth, and “reality” is determined by the preferences of the powerful. Since they have maneuvered themselves to be in charge, the elitists behave as if reality had to conform to their theories, not the other way around.

Our would-be masters wove a make-believe world where their particular skill sets dominate. Because of the strategic way the establishment infiltrated their ridiculous conceits into society, they made great progress in remaking our civilization in their own corrupted image. For too long we’ve been enmeshed in their Matrix-like web of relentless misdirection, distraction, and subversion.

 Since the past is full of examples that contradict their assertions, Postmodernists attempt to deny, destroy, and redefine it. Since freethinking individuals might not agree with their stances, Postmodernists attempt to divide everyone into collective groups which can be manipulated into divisive conflicts.

Postmodernism is a cynical, despotic fantasy. It’s like a mafia made up of spoiled children. Because a lot of influential people have embraced it, we have the current ongoing disasters in our society. They are deadly serious about trying to make us all submit to their sense of entitlement, which is exactly the reason they need to be thwarted.

It’s a good thing these elitists are so profoundly ignorant of anything outside their ideological biases. They don’t understand actual history, only their pretend revisionist versions of it. They are so convinced of their own invulnerability, they overlook the inevitable fate of tyrants grown rigid.

The two doctors finish their pious piece with “The arts can not only help heal our bodies during these difficult times, they can help heal our souls.” While only God can heal our souls, art could be there for those seeking the solace of beauty, order, and inspiration. Unfortunately the current state of the institutional art offers only propaganda and proselyting. They don’t want to comfort, they want to convert.

Under Postmodernism’s tyranny, the arts and humanities don’t offer concord – they are meant to be a means for conquest.

**************

I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a painting

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

PROPAGANDA VERSUS ART

Spanish Bombs

Guernica by Pablo Picasso

It’s one of the best known paintings of the Modern era. Expatriate Spaniard Pablo Picasso created Guernica in response to an atrocity that occurred during the Spanish Civil War, an episode that was a harbinger of the ruthless slaughter of the Second World War. 

On April 26, 1937, the Condor Legion, a corps of German Luftwaffe pilots who had volunteered to assist the Nationalist forces fighting in Spain, launched a raid on the defenseless Basque city of Guernica.  Multiple waves of airplanes bombed and strafed the civilian population of the town. The total number of casualties is disputed, but hundreds were killed.

An early experiment in the terrorizing carpet bombing later refined by the Nazis, the Guernica bombing demonstrated the callous brutality and effectiveness of twentieth century warfare, and the willingness to reach beyond the conventional battlefield to strike at enemies. The world recoiled in horror, but even worse events were yet to come.

Picasso was moved by the tragic assault to make what is probably his most famous piece of art. The work is mural sized, eleven feet high and over twenty five feet long, rendered in somber grays and boney white suggestive of the starkness of photojournalism. Although its initial reception was somewhat mixed, in time Guernica has become accepted as a powerful statement against war. As such, it is often referenced by those who emphasize art as a political act.  This is an attitude very prevalent in establishment artists today.

Picasso was clear on his intentions about the painting as a statement, but what he put in the canvas is a different story. Is the impact Guernica has as art due to a political stance, or has it endured due to articulating more universal, human concerns?

What ideological side is there to be chosen amongst those tumbling ghosts and stricken animals? The power of the piece has nothing to do with a particular time or viewpoint. The details are an anachronistic mix, ranging from a sword to a lightbulb. The audience does not need to know anything about the Republic, the Condor Legion or white phosphorus to feel the horror.

We bring external knowledge to the piece, being aware of the circumstances of its creation. Apart from the title selected by the artist, there is nothing in that piece that makes it specifically about the bombing of a Spanish town or the power struggles of the 1930s. It tells a universal story of the tragic violence in life.

Don’t forget, our impressions of the Spanish Civil War, noble Republicans versus evil Nationalists, are largely a Marxist driven myth. Author George Orwell fought alongside the Communists there. What he learned from the tactics of his comrades informed his dystopian books Animal Farm and 1984; he saw their brutal totalitarian intentions in action.  Orwell’s works transcend politics to act as dire warnings about the consequences of man’s covetousness nature run amuck.

We think of the painting Guernica as a political piece not because of what we can actually see, but because of what we are told about it. We are expected to squint through filters of received knowledge and officially condoned attitudes to reach the Correct conclusions. As a result, it’s easy for the painting’s presence as art to be diminished into mere propaganda. 

There’s a lot of that going around these days.

As I state in my 2018 book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:

“There are important distinctions between art and propaganda. Although both are forms of visual communication, their aims are completely different. Great art explores the mysteries of human experience. Propaganda seeks to influence an intellectual decision by stirring up obscuring clouds of emotionalism.

“Strong art reaches universal, shared experience by honestly presenting the results of self-exploration. Propaganda seeks to substitute that universal appeal with the presentation of ideology it assumes to be commonly held by all right-thinking people.”

Propaganda is distortion, intended to drive the audience into a pre-determined conclusion. It is far removed from the mysterious communion genuine art provides.

Despite the popular pose struck by many contemporary artists, who fancy they are bold rebels making a stand against injustice, the ideas advocated by most of today’s political art are actually advancing the values of the doubling dealing so-called elites they pretend to criticize.

The contemporary art scene was weaponized by the Postmodern deconstruction of reality, where The Narrative and the will to power matters more than truth. There are no consequences for hypocrisy in the Postmodern mindset. Any actions are permissible to the select few, as long as the correct ideas are publicly endorsed.

Enduring changes start in the arts. The power of art to define our way of life, to show us how to be, has been tragically underestimated. The Postmodern corruption I first observed in 1980s art school has seeped out and tainted our entire society. Our cultural institutions no longer provide us knowledge, education, real news, or responsible governance. We are enmeshed in an entire ecosystem of lies, sustained by the media, the academy, Big Tech, sellout corporations, and traitorous politicians. The monopoly is enforced by censorship and retaliations. You would think by observing the actions of the New Aristocracy of the Well Connected, our Constitutional Republic is dead; all that remains is for them loot and oppress the rest of us into oblivion.

One of the ways to counter this ruthless assault is with art. Not the bait and switch artifice which the establishment has pulled, substituting leftist activism for creativity. There is no chance newly created real art will receive institutional support these days. Based on the art world news I follow, the Inner Party has decreed the mission is now supposedly countering racism through the flaunting of blatant and despicable racist behaviors and attitudes. All the museum, gallery and artist sheep are dutifully baaing along.  It’s all just another manipulative social engineering project, like everything the Cultural Marxists produce. This will do nothing but further alienate the people from the resources real art provides.

The elitist-driven degeneration of art into propaganda denies our society the inspiration to live up to ideals; the encouragement to think and feel deeply; the yearning to harmonize with truth and beauty. The establishment blocks real art from us because they know how weak we are without it.

We need art as the timeless experience which is as old as humanity itself.  For, as President John F Kennedy noted, “We must never forget that art is not a form of propaganda; it is a form of truth.”

Elitists went scorched earth against civilization in their pursuit of unaccountable power. Their attempt to replace all means of communication with propaganda is supposed to keep us from noticing. Our credentialed classes react to truth like a vampire does to a crucifix. So that is why it will be important going forward to independently cultivate art which fulfills the John Keats insight about the visual expression of Western philosophy: “”Beauty is truth, truth beauty,—that is all/Ye know on earth, and all ye need to know.”

There is a huge opportunity here. Establishment mismanagement has driven the arts out of relevance for the majority. But the human need for it persists, just like all our other instinctual appetites. Creatives can contribute to rallying the human spirit in resistance against the darkness being imposed on us from above. What a glorious way to out-evolve our stifling, would-be rulers.

The elites can’t stand beauty because it shows their ugliness. They can’t stand truth because it exposes their lies. They can’t stand individual expression because it’s outside of their control. They can’t stand talent honed into skillful expression through dedication, because it reveals their own mediocrity, incompetence and laziness. They can’t stand art because it demonstrates the human spirit as created in God’s image, as creators articulating divine order.

The elites can’t beat real art, only suppress it. Let’s make it impossible for their propaganda to gain any traction by presenting a powerful alternative.

**************

I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a painting

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Visit other posts for more commentary on the state of the arts.

Please send any inquiries to info@remodernamerica.com. Thank you!

Update: Welcome Instapundit Readers! Enduring changes start in the arts. Renew the arts, and renew the civilization.

The Election Showed 75+ Million Americans Have Rejected The Establishment’s Narrative. We’re Not Going to Start Believing It Now.

We Hold On

Richard Bledsoe “The Determined Sailor” oil on canvas 48″ x 36″

For the last four Saturdays at noon, we’ve been going down to the Arizona Capitol for the weekly Stop the Steal rallies. These events are happening at statehouses around the country. Here in Phoenix, the turnout is high, and the mood is boisterous. It’s a real cross section of society. Everyone’s clad in their red, white and blue finery. Various flags are worn like capes; hand drawn signs display mottos and slogans. We chant, cheer, and boo, as appropriate.

Despite upbeat vibes, each week it seems like more and more are taking advantage of Arizona’s open carry laws. Under the sense of fun, there is profound seriousness. We remain positive. We are also showing we are preparing for whatever comes next.

Listening to the speakers, and talking to other rally goers, we all share information about the latest developments and outrages. We’ll have more to discuss this Saturday, as our sellout “Republican” governor Ducey has dropped any pretense of doing his duty to the Republic. The corrupt McCain machine continues to run our state; this jackass in disguise is just the latest backstabber elevated by the RINOS. So while it’s very disappointing to see Dougie betray us, it’s typical of the failure theater which has defined his term. The Grand Canyon state doesn’t have much of a real Grand Old Party, mostly just a cabal of deep state apparatchiks in camouflage. The globalists need a border state like Arizona to be corrupt and compromised, so they can more easily infiltrate their crimes into our country.

Other topics for Saturday will doubtless be Blind William Barr and the Durham Dead End; the hundreds of credible sworn eyewitnesses to voter fraud; the truckloads of ballots which showed up in the dead of night; the intimation and harassment of poll workers; the manipulated Dominion machines. Behind it all, China, pulling the strings, aided and abetted by our own traitorous countrymen, the New Aristocracy of the Well Connected.

One thing I’ve noted at the rallies is how informed everyone seems to be. Despite the unprecedented censorship and distortions of Big Tech, Big Media, and Big Democrats (three heads of the same Marxist monster), we seem to all know the up to the minute status of the various court cases and the players involved. Somehow the truth continues to seep out. The constant lies and discouragement being relentlessly broadcast isn’t fooling or converting anyone. We’re all in “don’t piss on me and tell me it’s raining” mode.

That especially goes out to all those who are still pretending this was anything like a normal election, and we have to follow the norms. All those who are signaling resignation, like “The Senate will stop the worst of the abuses!” Or “Trump should run in 2024!” Or “We’ll make gains in 2022!” Please. If you don’t see an extinction level event for the United States of America staring you in the face, you’re either in deep denial, or you’re a willing minion of the coup.

Many people are so indoctrinated they don’t even realize they are living a lie. There’s nothing new about this propaganda assault. It’s been implemented for ages, under the corrosive philosophy of Postmodernism. As I state in my 2018 book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:

A quick way to summarize Postmodernism is to describe it as a kind of magical thinking among the intelligentsia. They have convinced themselves and each other that language shapes the world, and by controlling the social narrative, they can force the universe into obedience.

The Modern era questioned truth and the nature of reality. Postmodernists flatly declare there is no such thing as truth, and “reality” is determined by the preferences of the powerful. Since they have maneuvered themselves to be in charge, the elitists behave as if reality had to conform to their theories, not the other way around. Our would-be masters wove a make-believe world where their particular skill sets dominate. Because of the strategic way the establishment infiltrated their ridiculous conceits into society, they made great progress in remaking our civilization in their own corrupted image.

For too long we’ve been enmeshed in their Matrix-like web of relentless misdirection, distraction, and subversion. Since the past is full of examples that contradict their assertions, Postmodernists attempt to deny, destroy, and redefine it. Since freethinking individuals might not agree with their stances, Postmodernists attempt to divide everyone into collective groups which can be manipulated into divisive conflicts.

Postmodernism is a cynical, despotic fantasy. It’s like a mafia made up of spoiled children. Because a lot of influential people have embraced it, we have the current ongoing disasters in our society. They are deadly serious about trying to make us all submit to their sense of entitlement, which is exactly the reason they need to be thwarted.

It’s a good thing these elitists are so profoundly ignorant of anything outside their ideological biases. They don’t understand actual history, only their pretend revisionist versions of it. They are so convinced of their own invulnerability, they overlook the inevitable fate of tyrants grown rigid.

For 5 years we’ve been told nonstop by all the best people and institutions that Donald Trump was a hater racist foreign agent fool of a failure. And what happened?

On Election day, 75 million + Americans demonstrated we don’t believe the hype. Instead, we voted to continue the self-evident growth and benefits that America First policies were bringing to the whole world. Reality trumped the Postmodern narrative.

Turns out, what we needed was someone who could provide an alternative to the carefully scripted and controlled slow motion destruction of the United States which has been festering for decades. President Trump broke the Uniparty monopoly Humpty Dumpty, and there’s no putting those pieces back together again.

We haven’t believed the establishment for the last five years. We’re not going to start believing them now. The elites are still behaving like it doesn’t matter what we think, they are going to do whatever they want with no consequences, just like they’ve done for years. We are supposed to submit to outrageous fraud, overlook the brazen criminal acts, and accept as inevitable a senile placeholder, who will open the floodgates for every sick, destructive domination fantasy the Left indulges in.

Not this time.

I believe there will never be a President Biden/Harris. It would be tantamount to surrendering our Republic to a cartel of our enemies, both foreign and domestic.

How will this desperate gambit for tyranny be defeated? That I don’t know yet. We are still trying to follow the rule of law, and that takes time.

I do know if our systems of civil justice are too corrupted to function correctly, our Constitution also include the extraordinary powers of the Presidency in times of rebellion and invasion. We are undergoing a devious combination of those two threats right now, an insurrection that keeps pushing their luck and daring us to do anything about it. Trumps’ far-sighted defense department shakeups, and his Executive Order and State of Emergency regarding foreign  election interference, convinces me he is prepared to do whatever it takes to save our country.

There are still patriots in position to prevent our final fall. 75 million + of us, if that’s what is needed.

**************

I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a painting

My wife Michele Bledsoe has written her own inspirational book, Painting, Passion and the Art of Life.

Remodernism Video: BEFORE THERE WAS FAKE NEWS, THERE WAS FAKE ART

Please send any inquiries to info@remodernamerica.com. Thank you!

Update: Welcome Ace of Spades and Instapundit readers! Please visit other articles for commentary on the state of the arts.