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

 

No “Social Practice” Art is complete without selfies 

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

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

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

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

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

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

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

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

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

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

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

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

Part 1: Eric Fischl

Part 2: The Corcoran Collapse 

Part 3: Ignorance as a Method of Critique 

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

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STUDIO: Collaborative Painting with Richard and Michele-Part 1

It Begins: A Collaborative Painting from Richard and Michele Bledsoe 

It’s surprising it’s taken us so long to do this.

My wife Michele Bledsoe and I are both painters, but very different kinds of painters.

We do share a studio in our home. We’ve spent countless hours together making art. We work back to back, with the stereo in the middle to play inspirational music.

She sits at her easel. I pace around in front of mine.

Michele uses tiny soft brushes. I use big house painting brushes for much of my work.

She discovers her imagery through stream of consciousness dreaming. I am replicating the vision I was assigned.

She likes to focus on one work at a time, and linger over it. I have multiple pieces going at once, at different stages of completion, and I compulsively push them towards resolution.

Michele doesn’t know what she is going to paint when she begins, but she applies her masterful technique to it. I know the image I need to present, but I don’t know how I’m going to paint it out.

We are both wholly committed to our art, and we show it in our own different ways. Remodernism encourages dedication to individual expression, and the pursuit of excellence.

But what would happen if we decided to share our visions together on one canvas, just like we share our studio, and our lives?

We’re going to find out.

Michele and I recently began a collaborative painting. We divided it right across the middle, but we will each contribute to a unified composition, in our own unique styles. We will follow our very different methods and seek to make them harmonize.

I started off like I always do: covering the canvas with a flat layer of color. I don’t like painting on a white surface.

Michele started like she always does: establishing the drawing, as seen in the picture above.

I then put in my crude initial layout, and gave it back to her.

Establishing the basics 

We will trade the canvas back and forth until it is done, and post updates on this blog. It’s a fascinating artistic process to interact with each other in something as complex as a painting. Stay tuned for further developments!

EXPLOITS: In the Eyes of a Painter-and a Major Announcement

Oh the irony: The unfinished work “Self Portrait with 5 Eyes” by Richard Bledsoe

acrylic on canvas 36″ x 36″

 

It’s been an eventful two months.

October 4, 2017, started off great. My wife Michele Bledsoe  and I both had the day off of work. I had a 6 am Arizona time Skype discussion scheduled with a college class in Louisiana. I gave a presentation about the art movement Remodernism and my own artistic experiences.

After the Skype session, Michele and I followed up on a birthday present I had received: tickets to Scottsdale’s OdySea Aquarium. Animals fascinate me, and I was intrigued by the opportunity to see watery creatures right here in the desert.

It was a great time. We got there just as they opened; being early on a Wednesday morning, the place wasn’t crowded at all. The aquarium provided a whole multimedia experience. At an interactive exhibit, I stuck my hand into a frigid pool and petted a sea anemone. I marveled as its little tentacles wrapped around my finger. We watched a 3D movie that projected whales life sized. We took a ride in a revolving theater which rotated to show four different environments, full of amazing animals. Michele filmed the whole thing, and made a wonderful Youtube video of it, linked here: A Trip to the Aquarium Video. 

The marine creatures on display were beautiful. We watched rays, sharks, catfish, seals, otters, penguins, and crabs in action. There was huge, intricate installation of a coral reef, swarming with dazzling fish. The aquarium even featured a few rescued sea turtles. Several have a condition called “bubble butt.” Damage had introduced a bubble of gas inside their shells, and they can’t dive. The aquarium rehabilitates these turtles by attaching weights to them, which restores their equilibrium.

A sea turtle with bubble butt 

After the wonderful visit to the aquarium, Michele and I had a mellow day planned. We were going to go out to lunch, then spend a quiet evening at home, painting. I was trying to complete an unusual piece for me: a self portrait. I depicted myself in front of a strange geometric background I invented on the canvas. I’d been working on this piece on and off for months, and I was eager to finish it.

But first, I wanted to run an errand, and get new glasses. I’d had my current glasses for years, and I felt like I wasn’t seeing well through them anymore.

We went to a typical glasses place in the mall. At that point, everything changed.

When looking into the bright lights of the eye exam, I realized that I had no vision in about a third of my left eye. I only saw darkness.

The optometrist reviewed the results, and immediately set an appointment with a retinal specialist. Immediate as in, go straight to the eye doctor, right now.

We went. During the exam, as the doctors peered into my eye and reviewed their scans, they kept saying, “So close!” I finally asked what was so close. They explained my retina was almost completely detached, barely holding on. I needed to have emergency surgery. They would introduce a bubble of gas inside of my eye to try to hold it together. This made me think of the sea turtles I had seen just hours before. Life is full of the most amazing synchronicities, when you look at it the right way.

The surgery couldn’t be scheduled until the next day. More synchronicity seeped in during the operation. I was sedated but conscious during the procedure. They covered my face with a perforated blue blanket while they worked. The operating theater lights shining through the tiny holes blurred and shifted as I looked up at them, creating a uncanny replica of the blue and white background I had painted on my self portrait. I guess I knew what was coming in some way. As I laid there listening to the murmured conversations of the surgical team, images of coral reefs played through my mind, like the one I has seen in the aquarium, but darkened, like it was night.

After the surgery, the really fun part started. To heal, I had to spend a week lying on my right side. We were grateful it was the side, because often this type of operation requires spending a week face down. Imagine trying to lie face down for a whole week, we kept saying. That would be so hard!

I could see the bubble floating inside of my eye. Because of the way the eye flips things, it always appeared on the opposite side of where it actually was. I called myself the human level, after the tool that uses a bubble to test the straightness of flat surfaces. Around the bubble, the vision in my left eye was like looking through curved jello. Eventually this bubble will go away on its own.

The first follow up visits with the doctors went well. Then at the 2 week mark, they discovered my retina was pulling off again. I had to have a second operation, an even bigger bubble, and ended up having to spend 8 days laying face down. I don’t recommend this experience to anyone. We did rent some special equipment to make it easier.

I was even face down for our 14th wedding anniversary, on Halloween.

Happy Anniversary! 

Since then I have made steady improvements. I can now see over (actually under) the bubble in my eye, and the retina is still in place. We expect a full recovery. It’s been a very challenging time, but I went through it without fear or discouragement. There are several reasons why.

Michele was incredible through this whole situation, everything a wife can be: loving, supportive, encouraging, and creative. She took care of all of our business while I was most incapacitated, and took great care of me. I am so fortunate to have her.

Another reason was my faith. I knew I was in God’s hands, and He was looking out for me. In fact, I actually believe all this time, when I was forced to pause my normal frantic busyness, was a very special gift God granted me.

You see, for years I have been writing a book. On top of working, painting, volunteering, and generally having an active life, I’ve taken time after work and on weekends to formulate an extended analysis of the culture: how we arrived at the artistic crisis of relevance we’re undergoing, and how it can be fixed. I’ve worked persistently, but progress was slow.

I recognized an opportunity in this sudden, unexpected illness. If I was going to be home bound for an extended period, I would use the time wisely. I would finish my book.

At first I tried to work on our laptop, but I couldn’t manage it. It was a terrible strain to try and read.

So we came up with alternative method. Last Christmas Michele gave me a little recorder so I could easily capture all the ideas I’m always having. While I couldn’t read and write, I could talk. I started dictating my book into the recorder.

Michele transcribed my thoughts into the computer.

Eventually I got well enough to be upright again. In honor of my improvements, I made a one eyed painting. I recreated the anesthesia visions of coral reefs I had during surgery, and added a tribute to my constant companion the bubble, which is such a crucial part of my healing process.

Richard Bledsoe “Reef” acrylic on canvas 24″ x 30″ 

But even more significantly, I finished the first draft of my book. It still needs review, revision, and formatting, but the content is there. We  are self publishing, so we don’t have to jump through any hoops of publisher submissions or approvals. The completed work will be available in early 2018 on Amazon, and through other sources as well.

The book is Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization. I wrote this book for a general audience, not just the art scene.

Remodern America discusses what art is and why we need it. It explains why Modern art happened. It reveals the current destructive Postmodern culture, and the corrupt establishment that created it. Best of all,  it describes Remodernism, the new ethos which will replace failed, deceitful Postmodernism.

I will continue to give updates on the publishing status here on this blog. Stay tuned!

As a sneak preview, the following is the introduction of Remodern America. It sets the stage for the contents of the book. Please spread the word. Enduring changes start in the arts, and a big change has already begun.

 

Remodern America: 

How the Renewal of the Arts Will Change the Course of Western 

Civilization

Introduction

What is the spirit of this age?

History will recognize this as the era the general population of the United States realized the governing class and its connections, far from acting as responsible public servants, had mutated into an elitist ruling class.

These elitists decided amongst themselves that, due to their superior intellects, credentials, and social status, they deserved to control how everybody else lived their lives. This mission of conquest was camouflaged with egalitarian rhetoric.

In exchange for the burden of managing their inferiors, this New Class exempted themselves from the expectations they imposed on others. Those underlings who supported the ascendancy of these would-be rulers received some special considerations as well, a semi-privileged status-but their greatest reward was to bask in the reflected glory of their masters.

The elitists had a plan, and it almost worked. Over decades, the institutions that sustained American culture have been infiltrated, their missions transformed.

Government, media, education, the arts-the occupying elitists within dedicated all resources towards undermining sustaining Western values, all to better serve the consolidation of unaccountable power. They used their influence over the various means of cultural communication and expression to exert pressure at all levels of society to embrace collectivist goals, distorting the concept of equality.

As part of these maneuvers, art was pushed into a crisis of relevance. Elitist malfeasance has marginalized the visual arts in popular culture. In doing so, the New Aristocracy of the Well Connected block access to powerful resources. They deny our society the inspiration to live up to ideals, the encouragement to think and feel deeply, the yearning to harmonize with truth and beauty. As a result, the mass audience has turned away.

People instinctually reject the superficial and nihilistic contemporary art championed by an imperious would-be ruling class. We currently call this covert corrosion inflicted on the foundations of Western civilization the Postmodern era.

A small sect usurped disproportionate power over the course of the entire nation. Now the terrible results of the corrupted establishment’s agenda are clear. Under their reign we are less prosperous, less safe, less free.

The elitists ran out of credibility and resources before their work was complete. Now we, the people, must to make sure they run out of time as well. The dominion of the deceitful despots must be demolished throughout the culture, on all fronts. Around the globe challenges are rising against the longstanding world order. The story of the 21st Century will be the dismantling of centralized power.

As always, this course of history was prophesized by artists-those who are intuitively aware of the path unfolding ahead. Their works become maps so that others may find the way. The new directives emerging in our culture must be acknowledged. Enduring changes start in the arts.

The entrenched interests are desperate to deny the uprising, but denial won’t stop us. The Postmodern era is finished, but it won’t go quietly. The vast project of reconstruction will commence as we dislodge the failed status quo.

What is the spirit of this age?

This is an era of joyous insurgency and new beginnings.

Welcome to Remodern America.

-Richard Bledsoe

 

Bold Talk for a One Eyed Fat Man:

Richard and Michele Bledsoe 

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

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

Ragnar Kjartansson: Spitting Mad 

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

The Remodernism Manifesto

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

EXHIBITIONS: International Stuckism-Quintus Gallery, Watkins Glen, New York

Richard Bledsoe “Petrified Forest” acrylic on canvas 20″ x 24″ 

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International Stuckism

October 13, 2017 – November 12, 2017, opening reception Friday October 13 

Quintus Gallery 65 Salt Point Rd. Watkins Glen, NY

Featuring artists from the UK, Spain, Greece, Russia, Iran, France, the Czech Republic, Australia, and the United States 

New York artist Ron Throop continues to make things happen. His latest project has been coordinating over thirty artists from around the world to share their visions in the latest display of the global art phenomenon of Stuckism.

The great analyst Carl Jung understood what art does. He stated, “All art intuitively apprehends coming changes in the collective unconsciousness.” Before the rejection of elitist presumption and incompetence became the consuming political topic it is now, in 1999 a group of UK artists started waging the same fight against the corrupt and out of touch establishment art world. The Stuckists were a harbinger of the dynamic which is remaking society. They are the first art movement of the Remodern era.

I’ve had the privilege of hosting a Stuckist exhibit here in Phoenix, with 2014’s International Stuckism: Explorers and Inventors. I’ve also participated in other international shows, like 2015’s Stuckism: Remodernising the Mainstream, University of Kent, Canterbury England.It’s an honor to show with these committed creatives. Stuckist free expression brings connectivity and joy back into a contemporary art world too often stifled by alienation and a sense of unjustified superiority.

Ron Throop sees art as a means for bringing people together. As he explains, “Communion has been one of my artistic goals for as long as I can remember. Expressive painting is a very powerful connector to people. We are an image and story-loving species.” To spread the word he has also assembled a book about the show, “International Stuckist Invitational at Watkins Glen,” available on both Createspace and Amazon.

Michele Bledsoe and I have both contributed to this show. It’s an exciting time, being involved in the renewal of the fundamental human activity of art making. We are very grateful to Ron Throop for his diligence and vision in creating this opportunity that demonstrates the grassroots are global, and growing. 

Michele Bledsoe “Assemblage” acrylic on canvas 7″ x 5″ 

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Richard Bledsoe “In the Trenches” acrylic on canvas 12″ x 16″ 

 

STUDIO: A New Painting in Progress, Part 5-Completion (The Work Must Speak For Itself)

“The War You Will Always Have With You” acrylic on canvas 36″ x 36″

Richard Bledsoe

The months went by and the painting progressed. I dedicated as much time as I could to it in between all my other obligations. And finally the time came when I stepped back and didn’t see anything left to adjust.

The painting is done when it speaks for itself. If what I put into it cannot be seen, no amount of explanation can fill the gaps. Here is what the spirit of this age looks like to me.

New paintings have already been done, and others are in process too. The work continues.

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

The Remodernism Manifesto 

 

Earlier Installments:

A New Painting in Progress, Part 1

A New Painting in Progress, Part 2

A New Painting in Progress, Part 3

A New Painting in Progress, Part 4 

STUDIO: A New Painting in Progress, Part 4 (Why Painters Go Mad)

Work in Progress: “The War You Will Always Have With You” starts to stare back

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I have a saying that is only partially in jest: “Insanity is an occupational hazard  for painters.” Look at art history, especially during the Modern era, and the trend is pretty evident.

Now I happen to be a very sane and stable individual myself. At least I think I am. But I can understand why going through the process of creating art opens the psyche up for derangement.

The smallest dab or gesture on a painting can make it or break it. My wife Michele Bledsoe  and I are intuitive artists. We work it out on the canvas, trying to convey the contents of our minds without relying on preparatory sketches or source material. When it works, there is the thrill of discovery.

The problem is we never know in advance what the smallest dab or gesture might do to the entire composition. Until I see it myself, I don’t know if that little adjustment will make the canvas sing, or drag it into the abyss.

Fortunately painting is a very flexible, forgiving medium. Mistakes can be fixed. Lots of my painting process consists of reworking elements that just didn’t work well enough.

I had been working on my latest major painting, “The War You will Always Have With You,” for about 2 months before I had that eureka moment. I gave my lion pupils, simple little circles of white, and it was like suddenly there was another presence in the room.

The art was looking at me even as I was looking at it.

Since I took the photo above, I have completed this painting; it took about another month.  My next post on the subject will show the finished piece. But even after 25 years of painting, I am still amazed how a little change takes the art abruptly from raw to finishing touches.

I don’t buy into the romantic myth of the crazy genius. Real mental illness is a drab and frustrating experience, an obstacle to where great art really comes from. That’s why I’m glad to be a Remodernist artist. It’s a much more integrated and healthy philosophy than the fragmentation of Modernism, or the deceptions of Postmodernism.

“The Remodernist’s job is to bring God back into art but not as God was before. Remodernism is not a religion, but we uphold that it is essential to regain enthusiasm (from the Greek, en theos to be possessed by God).”

The Remodernist Manifesto

Earlier Installments:

A New Painting in Progress, Part 1

A New Painting in Progress, Part 2

A New Painting in Progress, Part 3