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!

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.

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

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.

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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: 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!

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

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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!

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!

About My Art: Visionary Experience

Part 1 – How I Became a Painter

I gained insight into the nature of my painting by going back to what I wanted to be when I grew up.

I saw Star Wars in 1977 when I was 7 years old, quite possibly the perfect age to have seen that movie. I spent my whole youth wanting to be a film maker. And 10 years later, in 1987, that’s what I went off to college to try to be. I had to enroll in a freshman arts foundation curriculum, which exposed students to a whole gamut of creative disciplines, like drawing, sculpture, interior design, and commercial art.

It was in these classes I discovered painting. From the first moment I tackled a big surface as a student project I was hooked, although it took a long while and several changes of majors to understand this. But now I’ve been painting seriously since 1991, and it remains as fascinating as ever. I’ve never stopped working at it in all those years.

I’ve found the way to show my vision and tell my stories without needing the resources of a film studio. As I’ve gained comprehension of my art, I’ve been clearer about what it is I do.

I’m showing you stills from the movies in my mind. The possibilities are endless.

Richard Bledsoe “Gentlemen Astronomers” acrylic on canvas 24″ x 30″

Part 2 – Where Do I Get My Ideas

I am an intuitive artist, working not from observation but from visions that arise in my mind. The potential subject matter is limited only by the freedom of imagination, my capacity to comprehend what is presented to me, and the skill I have to render it visible.

I am not after a naturalistic recreation of the world. Painting is a dream world, and requires its own particular forms of creation. Its beauty transcends realism.

Other artists might work in the great traditions of landscape, still life, portraiture, or figurative painting. The visions I present are a blend of all these different explorations into a single unified image.

I’m sort of a mutant form of a history painter, the genre once considered the highest form in the hierarchy of Western art, but much neglected in the modern and contemporary art worlds.

The difference is story telling. Rather than make a detached work of art for art sake’s, emphasizing merely formal concerns, history painting depicts a moment of drama. It shows action arrested for contemplation, rich in implications of past, present, and future activity. It injects the element of time, suggests consequences and resolutions are pending, and extends the liveliness of the art beyond the edges of the canvas.

In my book Remodern America, I described how the images come to me:

I can sum up my art with one simple statement: The Good Lord told me to show you this.

I have visions. They come at the most random times. I could be washing the dishes, or driving to work, and suddenly the picture is there. It usually arrives now with a title, dimensions and suggestions for technique.

These visions tend to come in waves, or clusters. I’ll receive multiple suggestions over a few days or weeks, then experience a lull which can last weeks or months.

I maintain a notebook where I jot down the ideas so I don’t lose them; usually the title and a one line description is enough to recall the intact image to my mind. The book has hundreds of entries already. I will never live long enough to paint out all the pictures that have been presented to me, and new visions keep arriving all the time. I have to prioritize…

Like in a dream, the imagery is full of symbolism. The specific details shown are significant, though like in a dream it’s not always obvious, and not clear cut. There are nuances and connotations and above all, the final wordless mystery.

As I work on the paintings, I come to interpret them. Patrons will often share insights with me on my works as well, telling me meanings that I didn’t even realize, but which become clear once indicated.

Such is the seductive beauty of symbolic expression; even when manifesting universal archetypes, a symbol caresses the spectator in an intimate manner. While symbols can communicate concepts shared in common, each person experiences the thrill of recognition in a unique way, different as fingerprints.

Symbols give hints. They gesture. If you follow their indications, you find yourself gazing upon the unknowable complexity and profundity of existence.

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.

 I vanish while my paintings get applied to the canvas. I have the continuous experience of stepping back from the work to see it, and it’s like I’m stepping out of a trance. I’m constantly surprised by what I see has appeared on the painting, because I have no memory of doing it. Turning myself over to this receptive state allows something beyond my own capacities to take over. My best achievements are works done through me, rather than by me.

-Richard Bledsoe

From Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization (2018)

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

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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!

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

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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.

DAILY ART FIX: New Painting “Rex”

Art world links which caught my eye…

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

I work from visions I receive. Since my earliest artistic fascinations were linked to dinosaurs, they often appear in my paintings as powerful symbols.

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

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!

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!