ART QUOTES: On Spirituality 2

A sequel to a previous post ART QUOTES: On Spirituality

“Yet because art allows humanity to relay complex concepts that are hard to put into words, spirituality and art are naturally linked. Their affinity remains powerful, despite over one hundred years of
ideological efforts to sever or redefine their common bonds.”

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

Richard Bledsoe “Fugue” acrylic on canvas 20″ x 16″

art

“Art seems to me to be above all a state of soul. All souls are sacred, the soul of all the bipeds in every quarter of the globe.”

-Marc Chagall

Marc Chagall “Self Portrait with Muse” oil on canvas approximately 62″ x 55″

art

“I paint because the spirits whisper madly inside my head.”

-El Greco

El Greco “Laocoön” oil on canvas 33″ x 44

art

“My work embodies little visions of the great intangible… …Some will say he’s gone mad – others will look and say he’s looked in at the lattices of Heaven and come back with the madness of splendor on him.”

-Marsden Hartley

Marsden Hartley “Himmel” Oil on canvas with artist-painted wood frame 49″ x 49″

art spirituality

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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!

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“ART IS FOR EVERYONE” A Pop Up Gallery Experience at SEEDs For Autism

Remodern America Presents:

ART IS FOR EVERYONE: A POP UP GALLERY EXPERIENCE AT SEEDS FOR AUTISM

Seeds For Autism Hosts Group Art Exhibit

PHOENIX, AZ – Local artists present a pop up gallery experience at Seeds for Autism. Community artists and the talented participants at Seeds for Autism present a special one night show on Friday, May 27, 2022, 6pm to 8pm. 

A pop up gallery is a temporary art show held in a non-tradtional location. Local artist Richard Bledsoe described how Seeds for Autism is an ideal venue for an art exhibit. “I’ve seen lives transformed by the programs at Seeds for Autism. One of the biggest factors I see in this progress is the hands-on work Seeds emphasizes. As a painter, I understand the personal growth which happens when you engage with the material world. The making and viewing of art inspires kinship for all participants. We are grateful to Seeds for providing this opportunity to bring the community together.”

SEEDs for Autism is a unique vocational training program in Phoenix, AZ dedicated to providing adults across the spectrum with hands-on experience as they learn a variety of life skills, social skills and job skills in a real-life work environment. Through the production and sale of their hand-crafted home and garden items, adults on the autism spectrum build self-confidence as they step outside of their comfort zone and GROW.

This event was created to raise awareness and support for the life-changing program at SEEDs for Autism. Participating artists will be donating 50% of all sales to SEEDs.

ADMISSION IS FREE!

SEEDs for Autism
3420 S. 7th St. Phoenix, AZ 85040

602-253-4471

https://www.seedsforautism.org/

Richard Bledsoe “That’s A Moray” acrylic on canvas 20″ x 20″

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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!

Cultural Renewal May Not Be Pretty, But It is Beautiful: Punk, The Ashcan School, and Remodernism

Robert Henri “Snow in New York” oil on canvas 32″ x 25 13/16″ 1902

“Do whatever you do intensely. The artist is the man who leaves the crowd and goes pioneering. With him there is an idea which is his life.”

-Robert Henri

When I was a teenage punk, I was just having fun.

Only later did I understand I was participating in the messy but vital process of cultural renewal.

It was a matter of being in the right place at the right time. I was sixteen years old in 1986, living near Washington, DC. My geeky group of friends and I were performing the young male ritual of rebellion right next to an epicenter of an aggressive, controversial youth movement.

Only about a decade old at that point, the music and fashion sensation of punk had mutated into what was called hardcore. DC was the home of now legendary bands like Bad Brains and Minor Threat, and the excitement they generated spilled out into the suburbs.

I got a bad haircut and started wearing a black leather jacket and combat boots. On weekends my buddies and I left behind VHS movies and Dungeons and Dragons marathons and ventured into the big city, prowling the hip enclave of Georgetown.

We had a routine route, visiting the Exorcist stairs, Smash Records, and the Commander Salamander boutique. Mainly we walked the streets, feeling a thrill of immediate kinship whenever we encountered another band of promenading punks. We finally had something in common with some girls, too.

In time we started to visit the seedy clubs featuring shows with loud, fast songs and shouted vocals, while the audience danced by jumping around and bouncing off of each other. It was exhilarating.

Punk began when a bunch of self-starting kids, often working class, got bored with the bland, predictable culture being offered by the establishment. At the time there was no internet, and only sensationalized, derogatory mainstream media coverage. Hardcore punk was all underground and word of mouth, shared mix tapes and Xeroxed fliers. It felt like a conspiracy, like being initiated into something mysterious and special. We created our own alternative, and it spread.

I wrote about some of punk’s contradictions in my 2018 book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:

Punk’s anti-establishment outlook put it on the radical side of things, but I never got how advocates of a movement that emphasized individuality and independence could turn to a politically leftist worldview. In the 1980s the Cold War was still raging, and a lot of the major figures of the punk world openly sided with the communists.
But looking at actions instead of rhetoric, it was clear to me leftists were the most vicious enforcers of the establishment in history.
Around the world, their whole political system as practiced demanded an individual’s submission to centralized power, the exact opposite of punk’s message.
It made no sense to me how any free thinker would ally themselves with brutal regimes who used constant surveillance, intimidation and violence to keep entire populations captive. The problems
of America, how we fell short of our high ideals, how we were easily distracted by crass consumerism, seemed minor compared to the literally murderous systematic oppression coordinated by greedy and
aggressive totalitarians elsewhere in the world.
I did not understand I had been recruited into a covert war which had been brewing for decades. The Cold War was being fought unacknowledged right in the midst of our placid existences, in the classrooms, on the television. Postmodernism co-opted the potentials of punk.
If I’d had more perspective then I could have seen the double standards in play, and understood their origins. But I was just a kid, lacking experience and insight. It was easier just to ignore the contradictions.
If punk meant being a nonconformist, I would follow my own conscience. I could reject materialism and unthinking obedience to authority without buying into audaciously misguided leftist dogma.
To me punk went beyond the music that sounded a certain way, a gaudy aesthetic, lapses into lazy nihilism, and a juvenile reflex towards sardonic defensiveness. Punk advanced quintessentially traditional American viewpoints: no respect for the unjustified hierarchies the powerful attempt to impose; emphasis on action and energy; commitment to justice and progress; and the desire for the liberty to pursue individual happiness.

When I look around today, at all the people with the dyed hair, tattoos, and facial piercings, I still remember how shocking such trappings were when my peers were doing it back in the day. It makes me reflect how art is a leading indicator for society-for good or ill. All the once-startling punk displays are bland and predictable.

Almost one hundred years earlier, there was another aggressive, controversial cultural phenomena going on in the United States, in painting. We’ve come to call it the Ashcan School.

Artist Robert Henri (June 24, 1865-July 12, 1929) was an inspirational artist and teacher initially based in Philadelphia; he later relocated to New York City. Henri (pronounced Hen-rye) was bored with the bland, predictable art being produced in the American art establishment at the time: either gentle, pale Impressionist imitations, or flattering Gilded Age portraits of wealthy patrons.

Henri mentored a group of journalist illustrators which included notables such as William Glackens, John Sloan, and George Luks. In an era before common photographic reproduction, newspapers used artists to create the pictures for their stories. These men were used to depicting the grime and grimness of newsworthy city life. Henri encouraged them to bring that real world engagement into fine art.

Like punk many years later, the Ashcan School was an alliance of freethinking individuals each following their own artistic vision, rather than an organized, regimented movement. The artists shared a Modernist urban sensibility, dark palette, gritty realist subject matter, and an appreciation for the common people. They made sketchy yet accurate depictions how life was lived at the time, instead of polite, idealized fantasies. As Henri put it, “There is only one reason for art in America, and that is that the people of America learn the means of expressing themselves in their own time, and their own land.”

This was considered to be bad taste. Like many other art movements like Impressionism or Fauvism, the title of Ashcan started as an insult. A reviewer sneered about the “pictures of ashcans and girls hitching up their skirts on Horatio Street.” The artists embraced the derision as a badge of honor.

The Ashcan School artists were also referred to as “The Apostles of Ugliness,” much as the punks were called “foul mouthed yobs.”

But the critics are missing something important: the ugliness isn’t the point. It’s the willingness to undergo the rough journey needed to renew the energy of life.

Something too constrained stagnates, even dies. There’s always something a little wild and scary about real growth.

There’s a difference between pretty and beautiful. Prettiness is a surface. Beauty is the substance. Pretty is an outside appearance; beauty is from within. Pretty is agreeable. Beauty is truthful, and as we know, the truth isn’t always pleasing.

Accepting yet refining the harshness of truth through creative expression is a transcendental experience. The joyous human offering of art can add significance to mundane squalor.

Right now, Postmodern establishment mismanagement has created a culture which is neither pretty nor beautiful. They need us to believe the squalor is the point, after all. Artists are needed as the pioneers which carry out the idea that life is wonderful and surprising, even if elitists call us trashy. Cultural renewal will be a little wild and scary.

The latest cycle of real change in the arts actually started decades ago, although the cultural institution-controlling elites do their best to suppress the news.

In 2000, two British artists, Charles Thomson and Billy Childish, were tired of transgressive yet still bland and predictable Postmodern art. They were brave enough to tell the truth: the galleries and museum were filled with objects that weren’t really art at all. They described a new cultural understanding called Remodernism, rising to take the place of failed Postmodern artifice. Their manifesto included this key proposition: “The making of true art is man’s desire to communicate with himself, his fellows and his God. Art that fails to address these issues is not art.”

Childish soon struck off on his own, and continues as a celebrated painter, musician, and writer. Thomson remained committed to cultivating Remodernism as a movement. Guided by his inspirational example, grassroots art groups were founded around the world.

I was inspired. In my own Remodern America manifesto, I wrote my take on what is happening now:

Remodernism reboots the culture. 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 disruptive innovation applied to the moribund art world.

As for Robert Henri, his wisdom was captured in a great book called The Art Spirit. It encourages us to understand how important the role of the artist is.

As for me, I still pull out my Bad Brains and Minor Threat albums when the mood strikes me. It’s good music to paint to.

A version of this article originally appeared on The Masculinist, now on Substack

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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!

WE LOST A CENTURY OF CULTURE TO THE ESTABLISHMENT ART WORLD’S FAILURES AND MANIPULATIONS. THE NEXT CENTURY CAN BE OURS.

Norman Rockwell “The Connoisseur”

The American attorney and art collector John Quinn (April 14, 1870 – July 28, 1924) had a great insight about the avant-garde works he supported in the early decades of the twentieth century. He described his times as “an age of experiment rather than accomplishment.”

Quinn was describing the rise of Modern art. As early as the late 1700s, it was clear Classical art, reiterations of the ancient achievements of the Greeks, Romans, and Renaissance, did not adequately reflect the temper of the times. But what could? Modern artists bravely tried to find out.

It’s the nature of honest experimentation that failure is more common than success. In science a theory is proposed, tests are conducted, and the results are measured and analyzed, compared to the predicted outcome. But how can novel artistic experiences be rated?

Perhaps there is a fundamental test for art. Ultimately, art is a form of spiritual communication. Does the art deliver a sense of communion, connection, the eternal fellowship of humanity in a recognizable form? That would be successful art.

Much of Modern art’s attempts failed to reach those standards. Yet extreme experiments persisted, even as the appreciation dwindled. Like Spinal Tap, Modern art’s appeal became more selective. For some powerful people, that fulfilled an important non-artistic need: a new means for status signaling.

Cy Twombly, Leda and the Swan

Sold for $52 million in 2017

Any old sap could like skillfully created, beautiful, and meaningful art. Elitists had to flip the script, and make embracing the failed experiments, the ugly and obscure, the new standard of rarified taste. The establishment cultivated a culture war to preserve their isolating Mandarin authority.

We are all the poorer for it. For over a century now institutional support has been funneled into art meant not to unite, but to divide. Museums, galleries, and wealthy patrons warped the course of artistic evolution towards alienation, transgression, and incompetence, all the better to shock the bourgeois they despised. One hundred plus years of inverted snobbery was inflicted upon us. We’ll never know what might have been, what aesthetic glories the land of the free could have produced, without that interference.

This Is What The Gentry Class Fills Our Museums With. Sad!

It’s even worse now, in the Postmodern era. As I scan the art world’s official organs, I see nothing but partisan propaganda, leftist activism misidentified as art. These feeble efforts are deader than Lenin in his glass coffin, but all those who aspire to belong to the ruling caste must shuffle past and pay homage.

One of Postmodern Art Star Banksy’s Half Assed Editorial Cartoons Masquerading as Art

Those who we trusted as the caretakers of our culture betrayed us. We’ve had no support for art that reflects the true character of the United States, our might, goodness, and freedom. But the times are changing, and art can lead the way.

Cultural thought leaders look stupid propping up the absurdity they’ve made into the status quo. They’ve got no creditability left to squander. Their institutions are beyond reform. It’s time to start over. It’s a good place to be, because an American’s natural habitat is the frontier.

Even as Postmodernism undergoes its death throes, a new understanding is rising in the populace. The people are regaining the powers which have been usurped from them. This is the beginning of the Remodern era, and it’s informed by American principles. As I state in my 2018 book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:

Remodernism is the latest iteration of the American character: ordinary people working as explorers and inventors, optimistic, self-reliant and productive. The Remodernist artist formulates expressions of personal liberty in pursuit of higher meaning and significance. Remodernism is the pursuit of excellence. We don’t grovel before the current cultural gatekeepers, we want to interact with everyone. We are story tellers. We make a complex art for complex times. We are the swing of the pendulum.

The “art as experiment” analogy really isn’t quite satisfactory, because art is not like science, and conflating the two has been disastrous for our society. Elitists defensively over-intellectualized art, which is most effective as a visceral, soulful experience.

Billy Childish, an English artist who first codified Remodernism with painter Charles Thomson in 1999, described a hands-on strategy for the way forward. “The idea is painting, not having ideas about painting…In many ways I sort of like to look on myself as amateur in everything I do. The amateur does things for love, and belief, not for the mortgage.”

That’s the spirit. Look at what “amateur” politician Donald Trump achieved. He put the experts to shame – or rather, he exposed they were lying about their true goals and intentions.

Just like in our politics, no solutions for art’s crisis of relevance will come out of the corrupted hierarchies of the current professional classes. Fortunately, we don’t need anyone’s permission to create a faithful depiction of who we truly are, in art and politics both. Let’s get on with it.

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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!

Social Climate Change is the One to Focus On

Richard Bledsoe “The Conspirators” acrylic on canvas 24″ x 24″

I originally posted the painting above to this blog on March 31, 2019. This is what I had to say about it at the time:

My latest completed painting. These sinister characters lurk in the shadows and plot. It is them, and those of their ilk, which have woven the web of delusions that are driving our culture to ruin.

I spend a lot of time on the internet studying current events and bizarre phenomenon. I see something truly massive taking form that will change the dynamic of the entire world. I call these changes the dawn of the Remodern Age. I describe them in detail in my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization.

Am I crazy, or ahead of the curve? Time will tell. In the meantime, here are another couple of sinister characters.

Richard and Michele Read the News

A year later, on March 31, 2020, we had just been informed two weeks to flatten the curve was just not good enough. Really. Flatten the curve, or flatten our civilization?

I am convinced the painting I made was a premonition of the Overblown Outbreak. What I did not take into account in the prediction made in my statement is before we reach the Remodern era, we have to survive the death throes of Postmodernism. We’re living that now, and it’s ugly.

The state of the culture is like that quote about the weather attributed to Mark Twain: everybody’s talking about it, but no one does anything about it.

Granted, there’s lots to complain about. Any sensible observer can see the social environment is rotting before our eyes. There’s endless commentary available on the latest outrages, and the hits just keep on coming.

It is important to call out the issues occurring. The first step towards change is recognizing there is a problem. But it’s only the first step. Once the problem is identified, it’s not effective to just keep recognizing it, over and over again. Action is called for.

Unlike the phony climate change hoax, the social environment is manmade. The cultural decay we are experiencing is the result of deliberate behaviors by specific people. They have intentions, and they make decisions. Funds are spent or withheld; access is granted or denied; viewpoints are encouraged or suppressed. The originating perpetrators tend to move stealthily, shielded by bureaucratic haze and patient incrementalism. Accountability is so defused, it is non-existent.  This is by design.

Much of the proclaimed Postmodern mindset is based on severing the rational connection between cause and effect. Popular Postmodern positions require accepting delusions like being born a particular sex does not determine what “gender” you are. Or that community crime is caused by too much of a police presence. Or that the most free, prosperous and diverse nation in human history is the most racist and oppressive.

The Postmodern philosophy tends to be a package deal; if you believe any of this junk, odds are you believe all of it. Easily verifiable evidence refutes these assertions, and scores of other crazy notions like them. And yet the evidence is not heard; it’s not even allowed to be presented. This is not an accident, not just chance or misfortune. It’s a carefully managed plan.

We don’t know the names of those who are ultimately driving these schemes. That’s part of the plan as well. What I can see informs me that these persons unknown are very aware of the reality of causation, and the destructive results of the ideas they promote. This isn’t a situation of unintended consequences.  The influencers aren’t deluded; they are manipulative liars, living embodiments of Doublethink double standards. They are superspreaders of delusion. They’ve weaponized it to advance their agenda.

Sadly, through covert campaigns, our cultural institutions are inundated by those working towards the death of our culture. Whether the participants are fellow travelers or just useful idiots, the end results will be the same.

Now, enough with the recognizing of the problem, again. Once recognition happens, it’s time to take responsibility.

What are we to do? I have great hope here. This human caused social environment crisis can be countered by other humans. Knowing most of our existing hierarchies are hopelessly compromised at the moment, independent action is called for. Let us be a joyous insurgency, each in our own way.

I have a soft target, in the arts. Establishment art has degenerated into an alienating money laundering racket. The audience for contemporary art is practically nil. Yet the creation and contemplation of art is an instinctual appetite for humanity. We still need it, want it, crave it even.

All you people who ever visited an art gallery or museum and left baffled or upset, I’m speaking to you. You were never the problem. So much of what our compromised cultural institutions present as art isn’t really art at all. It is propaganda meant to prop up the delusion. You knew they were failing to meet the genuine need for art you had.

I make art that comes to me in visions. Like dreams, the visions are full mysterious significance, and affirm the beauty and weirdness of the life God has granted us. My works will not be to all tastes, and there’s nothing wrong with that. Just know my paintings are the result of a sincere effort to share my particular nature in an attempt to reach universal connection.

Trust your own instincts, and find the art that appeals to you-or even better, try to make it yourself. It’s a rewarding experience, with endless capacity for growth.

Taking free actions, rejecting approved parameters of the officially sanctioned narrative, is how we can make actual climate change happen. It’s the Remodern way.

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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!

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.