ARTICLE: Activist Art Exposed as an Elitist Bait and Switch

Graphically Dull: The Stilted Stylings of Turner Prize nominee Forensic Architecture

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“The beginning of wisdom is the definition of terms.”

― Socrates

It’s that time again. Time for ruling class apparatchiks to announce the latest slate of non-artists to be nominated for what is advertised as a prestigious award for art:

THE GUARDIAN: Turner prize shortlist pits research agency against film-makers. “A research agency that investigates international crimes and injustice, and comprises architects, film-makers, archaeologists, investigative journalists, lawyers and scientists, has been nominated for the 2018 Turner prize. Forensic Architecture, which has about 16 members and is based at Goldsmiths, University of London, will compete for the 33rd edition of the prize against three solo artists – Naeem Mohaiemen, Charlotte Prodger and Luke Willis Thompson.The list is more overtly political than in previous years, featuring artists tackling issues of post-colonialism and migration, queer identity, human rights abuses and racial violence. Once again, it raises questions about what precisely art is. The three solo artists primarily use film, whether shot on 35mm or iPhone.”

Over in the UK, the Tate Museum’s Turner Prize is one of those self-serving yearly events elitists create to congratulate themselves for extreme cleverness. Named after an actual artist, the great English painter J.M.W. Turner, this supposed recognition of achievement is anything but. First awarded in 1984, the Turner Prize has degenerated into the establishment’s way of trying to enforce pointless Postmodernism as the standard for contemporary art. It’s almost like they purposely look for the most numbskull non-art possible to distort the public’s perception of what art is, and what it does.

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.If wisdom begins with the definition of terms, what do you call efforts to deliberately lie about what those definitions actually are? The manipulation of our shared understanding is too calculated to be merely inept; too consistent to be ascribed to simple ignorance; too debased to be just misguided. There is strategy here, relentlessly advanced and ferociously enforced.

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Misdirection is at the core of the whole rotten Postmodern gambit. “Who is there among you, who, if his son. asks him for bread, will give him a stone?” The contemporary technocratic managerial class, that’s who. Our culture is saturated with globalist diktats that are fundamentally at odds with reality.  They not only give us stones for bread, they give us leftist activism in place of art, and tell us to swallow it.

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The art world makes a great example of the failure of elitist equivocations, because it exposes the lies with visual evidence. In their latest event to assure us that 2 + 2 = 5, the Tate scraped up some real scintillating content. Take for example the Guardian’s article headliner, Forensic Architecture. As their website describes:

“Forensic Architecture is an independent research agency based at Goldsmiths, University of London. Our interdisciplinary team of investigators includes architects, scholars, artists, filmmakers, software developers, investigative journalists, archaeologists, lawyers, and scientists. Our evidence is presented in political and legal forums, truth commissions, courts, and human rights reports.We also undertake historical and theoretical examinations of the history and present status of forensic practices in articulating notions of public truth.”

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Not impressed by the vast list of ax-grinding bureaucracies and committees Forensic Architecture engages with? Don’t see what any of that has to do with art? Maybe their supporting imagery will get you woke, or maybe not:

Forensic Architecture’s reconstruction of the abduction of 43 students in Iguala, Mexico in 2014. 

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Nothing like graphics that could be out of a 1980s pain reliever television commercial to prove This-is-Serious-Guys. Or perhaps your artistic spirit is more stirred by a flow chart/subway map aesthetic:

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Forensic Architecture: missed their stop

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Nominated for a top art prize. Seriously. This is not art, this an activist power point presentation that seeped out of its think tank, and now threatens to bore all of humanity. Something has gone seriously wrong with standards and practices.

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Either some people in the culture industries don’t know what they are doing, or they know exactly what they are doing, and it’s with evil intent. Benjamin R. Dierker’s recent Federalist essay “How The Left’s War On Words Manipulates Your Mind,” sums it up, describing:

“This isn’t innocent linguistic drift or slang; it is a conscious effort to reshape society. The schemes include redefining words for personal gain, using modifiers to alter the meaning of a word, replacing technical words with colloquial ones, and creating new words. Each of these is a bullying tactic, which distort effective discourse.”

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The Stuckist art movement called out the sheer stupidity of the Turner Prize with protests for years, until it just became too self-evident to bother about. In my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, (coming in the summer of 2018) I build on ideas first codified by the founders of Stuckism, English artists Charles Thomson and Billy Childish. They recognized we are at the beginning of Remodernism, a new phase of our culture that will wipe out the frauds perpetrated by our Postmodern would-be masters. As I say in the Remodern America Manifesto:

“Ruling class totalitarians use Postmodern art as a tool of oppression. Elitists have weaponized art into an assault on the foundations of Western civilization. This deceitful cabal seeks to destroy any principled perspective on the lies, manipulations, and abuses they commit. The scourge of Postmodern relativism as a cultural force is no accident; it’s a top-down driven campaign. Hyping soulless, unskilled art has a toxic, weakening effect on society as a whole.”

The story of the twenty-first century will be the dismantling of centralized power. We’ve been poorly served by the governing classes across all our institutions. The longer the current elitists attempt to cling to their privileges, the harsher the ultimate corrections will end up being. But an easy place to start undermining their pompous authority is by daring to state the obvious: nominating propaganda for an art prize doesn’t make it into art.

Edit: Welcome Instapundit readers! Please check out other entries for more commentary on the state of the arts. 

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COMMENTARY: The Great Tate Bricks Controversy of 1976

Andres

It’s a pile of something all right:

A vintage photo of Carl Andre’s “Equivalent VIII”

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“The sensation of these pieces was that they come above your ankles…”
-Carl Andre

“Art that has to be in a gallery to be art isn’t art.”

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I imagine the tour conversation depicted above probably went something like this:
CURATOR: “Behold, a three-dimensional manifestation of essential modular forms; a configuration of material purity actualized in an industrial aesthetic.”
PUBLIC: “But that’s just a stack of bricks on the floor.”
CURATOR: “You obviously do not understand art.”
In 1976 London there was some tabloid excitement about the Tate Museum’s tax-payer funded purchase and display of Carl Andre’s Equivalent VIII-a group of 120 bricks arranged in a rectangle.
The piece was originally part of an installation in New York in 1966. When no one bought the work at the time, the artist returned the bricks to the supplier. He had to obtain new bricks for the Tate. It reportedly cost the tax payers about $12,000.00, the equivalent of about $50,000.00 today.  A real bargain, considering the seven figure boondoggles the art market currently traffics in.
This piece has since been vandalized with paint, mocked in editorial cartoons, and met with general bewilderment. This hostility is seen as a badge of honor by elitist cultural types.
But the limitations of material as message render the piece itself as dull and inert. Without lots of art blather to support it, the piece is simply a stack of bricks out of its normal context, without any inherent interest of its own.
Museums have only gotten worse since then. The poor judgement and self-serving cronyism of the arts establishment has made the modern museum into a void of overpriced. repackaged Dada. Sadly, Equivalent VIII and the way it was handled  was a harbinger, not of the direction of art, but of the power games and corruption of our compromised cultural institutions.
Carl Andre went on to be put on trial for the murder of his wife, artist Ana Mendieta,  who somehow fell out of a 34 story window during a domestic dispute over art career jealousy. Andre was cleared on the charges due to reasonable doubt.
The piece itself is still providing a trip hazard at the Tate Modern Museum.
Trip
carl-andre
“Art is the exclusion of the unnecessary.” – Carl Andre
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That’s a great perspective. Let’s start by excluding misplaced stacks of bricks cluttering up what could be useful museum space.