DAILY ART FIX: Video – At The Crossroad

A repost from June 28, 2015

 

“At the Crossroad” acrylic on canvas 24″ x 30″ by Richard Bledsoe

This painting was inspired by blues legend Robert Johnson. It was claimed Robert Johnson sold his soul to the devil in exchange for musical talent. In this video, I talk about why that is a bad idea.

At the Crossroad sold the first time I exhibited it, purchased by a nice young couple. I have no idea who they were, or where the painting is today.

I enjoy when someone connects with my paintings.

Art enriches life.

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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: Video – The Future of Art According to Billy Childish

Art world links which caught my eye…

Billy Childish and Charles Thomson codified the ideas of Remodernism, the art movement which will replace corrupt Postmodernism. Here Billy Childish talks about where art is going.

“The art world is the same as the rest of the world,” says British artist, writer, and punk-rocker Billy Childish. “What it requires is new, more, and now.” Childish has worked defiantly and prolifically outside of the mainstream since his expulsion from art school in the early 1980s. To the polymath—whose paintings, poems, novels, and music draw heavily from his autobiography—art is a deeply personal experience that should not rely on external validation, whether from critics or audiences.

From his painting studio located on a historic dockyard in Kent, United Kingdom, Childish speaks passionately about the freedom that comes with self-validation. When asked about his perspective on the future of art, he demurs. “People think we’re continually ascending a mountain to success or to enlightenment,” he says. “It’s here and now and this is 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!

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!

Exposing the Art World’s Critical Race Theory Problem

It seems like it’s in the news every day now. An establishment ploy to divide and distract Americans is finally getting the attention and pushback it deserves in some of the fields where it is occurring.

However, there is a vital area where this toxic plot is still going unchallenged.

The destructive ideology of Critical Race Theory (CRT) has operated like a stealth bomber up until recently. No one realized it was there, until it started dropping its payload of hatred, bitterness, and manipulation on unsuspecting targets across society.

CRT is a top-down effort to persuade us into accepting the cognitive dissonance that behaving like bigots is the solution to bigotry. Of course, what the New Aristocracy of the Well Connected really wants to do isn’t what they claim they are doing. The establishment doesn’t want solutions. They deliberately invent problems where there are none, and make existing problems worse. The point of bigotry is bigotry, as Orwell might have informed us; an officially cultivated and sanctioned policy of intolerance against those who don’t conform. Ultimately, the elites don’t care whether the people are persuaded or not, as long as we obey.

The establishment has played a long game, slowly imposing a totalitarian state on a free people. The two electoral victories of President Donald Trump (one of them currently stolen) shocked globalists into accelerating their timeline. To accomplish the undermining of America’s strength, our would-be ruling class needs their divide-and-conquer propaganda to become the only recognized model of our society. They distribute CRT indoctrination through the institutions they control: academia, the media, Big Tech, and corporate boardrooms. It’s one big PsyOp directed at the American populace.

But the elitist urgency to force race hatred onto goodhearted and proud American citizens has backfired. Even the censorship imposed here in life behind the Silicon Curtain can’t stop the information from spreading. Patriots are confronting schoolboards, shutting off the fake news, and boycotting woke businesses. This is just the beginning.

But an important aspect of our culture is still suffering from unchecked CRT distortions: the arts. Establishment art has been in a crisis of relevance for decades now, so it’s not surprising most people are oblivious to these latest examples of extremist rot. The cultural consequences of this unacknowledged festering could be immense. 

I didn’t have to look far to find examples. Just about every art site I visit in my ongoing research is riddled with leftist ideology. As the art world is a place dominated by virtue signaling and trend following, CRT is hot right now. I could go on and on with all the artists, museums, schools, and foundations hyping CRT. These samples of CRT proselyting come from three of the major art publications operating today.

Each article comes with a preposterous (and self-serving) assertion treated as if it were a factual statement. Simultaneously, there is a contemptuous and condescending attitude towards the abilities of those they claim to be advocating for. It’s what Thomas Sowell describes as the “soft bigotry of low expectations.”

ARTnews: As Atlanta’s Art Scene Evolves, Historic Injustices and Hopes for New Futures Come into Focus

But for all its giving over the years, the Community Foundation for Greater Atlanta had a problem with who was getting that funding—until [social justice activist Heather] Infantry took up the cause. After finding that 87 percent of foundation funds had historically gone to white-led organizations, Infantry went public with the news while pointing out that certain rules for eligibility (related to budget and staff size, for example) effectively shut out many small and struggling arts organizations that needed support the most. “When you get down to it, the Community Foundation is an incredibly racist institution when it creates guidelines and criteria that disqualify Black arts organizations that are so prolific and abundant,” said Infantry, whose advocacy efforts helped change things for the better. [emphasis mine]

Assertion: Objective, consistent performance standards are racist! Implied: minorities are poor and disorganized.

Art In America: How Dionne Lee Combines Darkroom Techniques with Wilderness Survival Tactics

Lee began interrogating the racialized histories of the American landscape by means of photography in 2016, while an MFA student at the California College of the Arts… The works bespeak Lee’s interest in exploring the body’s relationship to the land, and in tools that facilitate survival in the wilderness, an ability relevant to both social history and climate change. Motivated by fear of impending ecological disaster, Lee has been learning a number of outdoor skills: how to navigate, make fires, and forage for food. During a lecture at the Rhode Island School of Design last fall, Lee noted, “My ancestors, who were enslaved, had to be survivalists, and I’m attempting to reclaim that heritage.” In response to nearly drowning in a public pool as a child, she made her gelatin silver print A place to drown (2019) by scanning an image of a desolate swimming hole. Lee slowly dragged a found photograph across a digital flatbed, and the resulting image is a distorted view of what seems like a gaping hole, perhaps a portal for escape. Swimming is yet another survival skill that reflects histories of racial oppression. The work brings up questions of access: historically, who had the right to swim? Who had access to water? Who had the privilege to perfect the survival skill of swimming? [emphasis mine]

Assertion: Swimming is racist! Implied: This teacher from Stanford University, who is taking part in an exhibit sponsored by the New York Museum of Modern Art, is marginalized and oppressed. Bonus climate change alarmism in this one! I’m sure college art activist is a fine set of skills to bring to the pending weather apocalypse she anticipates.

ARTFORUM: School Spirit – Jessica Lynne on art and Historically Black Colleges and Universities [HBCUs]

In an era framed by the political fervor of the Movement for Black Lives, “mainstream” (read: white) museums, galleries, cinemas, and other cultural organizations are frantic to reckon with the oppressions that have structured their existences, hiring more Black leadership and curatorial staff, increasing acquisitions of work by Black artists and other artists of color, and investing in infrastructure that supports the education of Black students and scholars. [emphasis mine] But if you were to ask your average art-world denizen to discuss the position of HBCUs in relation to these ongoing structural negotiations, you would most likely be met with blank stares.

Assertion: Scrambling to accommodate affirmative action is racist! (Well, it actually is, but not in the way the author of the article thinks). Implied: Minorities can’t be accomplished artists and scholars in their own right, so they need to be promoted on the basis of skin color.

The CRT sickness is spread by a combination of would-be authoritarians, useful idiots, and fearful followers. It’s an emotional, and ultimately a spiritual, disease.

Critical Race Theory is a product of Postmodernism, the corrupt operating system of elitists around the world. Postmodernism is a clumsy Cultural Marxist power grab disguised with sophistry and misdirection.

In 1999, two English artists, Charles Thomson and Billy Childish, first codified Remodernism, a cultural shift destined to displace the failed tyranny of Postmodernism. They wrote, ” Why do we need a new spirituality in art? Because connecting in a meaningful way is what makes people happy. Being understood and understanding each other makes life enjoyable and worth living.”

CRT is not about this kind of connection; it aims to shame and dominate.

At the time of Remodernism’s founding, Thomson and Childish used the absurdity and excesses of the Conceptual art movement to define their opposition. But even those seemingly silly offerings were political; harbingers of cultural suicide camouflaged as kitschy sculptures, rotting animals, and dirty beds in museums.

When Art Was Just Stupid: Jeff Koons “Michael Jackson and Bubbles”

Now the pretense is gone, and we see art being openly used as a weapon for bullying.

CRT is a set of lies about the essence of the United States, claiming the greatest nation in history was founded by racism in order to enable even more racism. The CRT assault is aimed directly at all those who took the inspiring words of Dr. Martin Luther King to heart: “I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character.”

CRT betrays Dr. King’s dream, his example, his legacy, and indeed the premise of America, as stated in our national motto: E Pluribus Unum, “Out of many, One.”

We can say this because American is not a race, or an ethnicity, or a class. American is a set of principles, and appreciation for the opportunities those principles provide. That’s why the United States was called a melting pot for so long: despite all of our varied origins and circumstances, America gives a fresh start. We were forming a new civilization together, making many into that new dynamic Unum, the likes of which the world had never seen.

The world didn’t like this.

They attacked us by inserting a kind of disease into what should be the United States. Critical Race Theory is a virus, an infection unleashed by an anti-American globalist cabal to weaken our nation.

There’s a lot of that going around lately.

It’s sad to see CRT being utilized anywhere, but it’s especially galling to see it applied to the arts. Art is one of the things that brings us together, throughout all times, and all cultures. The art world can be as big as all of humankind, if we do it right. That is why it’s worth speaking out against these cynical attempts to use art as a wedge. We can defeat this impulse by making art great again, and using it as an expression of the unity and brotherhood of our better natures. It’s the American way, after all.

Critical Race Theory is incompatible with art, and by extension, with civilization.

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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.

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

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!

Artist Quotes About America

Reposted from July 3, 2017 

Thornton Dial “Don’t Matter How Raggly The Flag, It Still Got To Tie Us Together”

“If we going to change the world, we got to look at the little man.”

Thornton Dial

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Happy Independence Day!

In large part, the creative classes are saturated in globalist propaganda. The institutional indoctrination is very thorough, and of course most funding opportunities rely on conforming to the elitist gentry agenda.  Sad!

However, there are examples of artists who spoke their minds about the fantastic nature of the American experience. In the United States our culture is currently experiencing the death throes of manipulative, oppressive Postmodernism. As we enter the new era of Remodernism, the return of art as a revelation, expect to see more artists express the ethos of liberty in deeds, words and pictures.

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Andy Warhol “Van Heusen (Ronald Reagan)”

“I met someone on the street who said wasn’t it great that we’re going to have a movie star for president, that it was so Pop, and when you think about it like that, it is great, it’s so American.”

-Andy Warhol

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Thomas Eakins “The Champion Single Sculls”

“Of course, it is well to go abroad and see the works of the old masters, but Americans… must strike out for themselves, and only by doing this will we create a great and distinctly American art.”

-Thomas Eakins

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Arthur Dove “Me and the Moon”

“What constitutes American painting?… things may be in America, but it’s what is in the artist that counts. What do we call ‘American’ outside of painting? Inventiveness, restlessness, speed, change..”

-Arthur Dove

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Jacob Lawrence “The Migration Series Panel 58”


“Maybe…humanity to you has been reduced to the sterility of the line, the cube, the circle, and the square; devoid of all feeling, cold and highly esoteric. If this is so, I can well understand why you cannot portray the true America. It is because you have lost all feeling for man.”

-Jacob Lawrence

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Willem De Kooning “Dark Pond”

“I feel sometimes an American artist must feel, like a baseball player or something – a member of a team writing American history.”

-Willem De Kooning

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Georgia O’Keeffe “Cow Skull: Red, White and Blue”

“One can not be an American by going about saying that one is an American. It is necessary to feel America, like America, love America and then work.”

-Georgia O’Keeffe

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Jack Kerouac “Untitled”

“I felt like a million dollars; I was adventuring in the crazy American night.”

-Jack Kerouac

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Grant Wood “Stone City, Iowa”

“I had to go to France to appreciate Iowa.”

-Grant Wood

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Richard Bledsoe “The Pop Star”

Remodernism is the latest iteration of the American character: ordinary people working as explorers and inventors, optimistic, self-reliant and productive.”

-Richard Bledsoe

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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.

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

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: The Sublime and the Divine; Commentary on the Integrity of Art

Update on a post from January 8, 2015

alternative evolution

Richard Bledsoe “Alternative Evolution” acrylic on canvas 24″ x 36″ 

Humanity is not perfectible. All efforts to defy our natures through our own efforts lead to division, fragmentation, conflict and failure. Modernity was an accurate representation of the spirit of its age, of the schisms that develop inside and outside of people when we make ourselves the center of the universe. Modern art documented the frantic casting about for a solution, trying out this theory, that theory, this aesthetic, that approach, but all such efforts are doomed. “These fragments I have shored against my ruins,” Eliot wrote, but the ruin will always break through in the end.

What the Masters had was a sense of integrity the Modern world rejected-integrity in the sense of wholeness, a sound condition. This is the spirit of Remodernism. We can learn from and use all the discord and ruptures of the last century and put the pieces back together. The Modern experiment failed. It did not bring perfection into the world by using human intellect, a feeble and limited tool under the best of circumstances. What is called for is a new mode of understanding, which is actually a very old mode of understanding. Enduring wisdom is greater than the equivocations of rationality.

This article from 2013 addresses why the achievements of Modernism fall short of the works of the Masters.

Key quote:

“Yet the achievements of a Michelangelo — those that have survived — simply dwarf those of the Bacons, Freuds and the rest, in spite of all the resources of modernity. What changed? Was it, in Max Weber’s phrase, the ‘disenchantment’ of the world? Last month the New York Review of Books carried a previously unpublished talk by T.S. Eliot to a Cambridge literary society in 1924. In it, he defined modernity as ‘the movement which accepted the divorce of human and divine, denied the divine, and asserted the perfection of the human to be the divine’.”

Read the full article here: STANDPOINT – The Sublime and the Divine

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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.

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

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: Symbolism and the Function of Tradition

From December 24, 2014

Richard Bledsoe “The Bear That Ate the Stars” oil on canvas 30″ x 36″

As a young artist, as I started to discover what truly intrigued me in my art, I found I was following parallel explorations to the Symbolist artists. Even as I’ve become aware of the cutting edge contemporary movement of Remodernism, following my own natural inclinations keeps my works grounded in Symbolist traditions. Remodernist artists find inspiration in the art forms of the past, expressed not by mindless imitation or appropriation, but by finding in ourselves the universal source of love and excitement that moved those earlier artists.
Fascination with the fantastic, mythical and religious imagery, the spiritual connotations of darkness, light and color, an underlying sense of order; these concerns of the Symbolists continue to arise spontaneously in my own art.

Gustave Moreau: Reimagining Symbolism

This article touches on the works and life of formative symbolist Gustave Moreau. Key quote:

” Eccentricity and provocation are two defining characteristics of symbolist artists, all of whom created their own artificial world, built on their own imagination and emotions. Rejecting naturalism and impressionism, at the same time the artists challenged themselves to stimulate and evoke the observer’s emotions. Longing for sensation and artfully hidden implications, it seems only logical that every artist brings his unique touch to a common concept.”

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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.

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

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!

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!

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.

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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!

Update: Welcome Instapundit readers!

DAILY ART FIX: Billy Childish takes over Lehmann Maupin’s first London gallery

Art world links which caught my eye…

Billy Childish “Trees and Water”

The man who calls himself Billy Childish (born Steven John Hamper, 1 December 1959) is one of the cofounders of Remodernism, the movement of art and thought which inspires me. This English artist was given a guest studio space in a gallery in late 2020.

Key quote from the article:

“Punk rocker, author, poet, photographer, political satirist, painter, and founder of ‘anti-anti-art’ movement, Stuckism, Billy Childish has many strings to his bow, or bristles to his brush, or grooves to his vinyl record, depending on which day of the week you catch him on. He usually only paints on Mondays, but for his residency at Lehmann Maupin, he’s bending the rules. 

“To call Childish prolific might be an understatement. During lockdown, he recorded five albums, produced 40 paintings and wrote a novel. Is he chuffed? ‘It would be impressive if I took it on board, but for me, it’s like falling off a log. I’m quick and I don’t really identify with any of it,’ he quips over the phone from his home in Chatham, Kent.”

Read the full article here: WALLPAPER – Billy Childish Takes Over Lehmann Maupin’s First London Gallery

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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

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!