.Only in America, right? As in President Donald Trump. Anybody have any thoughts on that. I just got this video from a German friend of my wife’s. Who says the Germans don’t have a sense of humor? Or could play rock guitar! Don’t worry. I’m not going to yammer on about politics as I’m aware artists aren’t interested in minor things like that. So after the video entertainment I’ll get back to hammering at the art fraud. Of course that has to do with politics as well, so there’s a bit of that. I just think it will be helpful to understand how they operated in the past, as they created the present, and that perhaps my 5 0r 6 readers interested in how we got from there to here will gain a bit more illumination.
OK. Enough humor. Back to the depressing stuff. On the eve of our self-destruction I ran across an article that largely summarizes a number of the points I’ve been writing about for the last few years on my blog. It’s interesting that the author is anonymous, but I find almost everything he says unimpeachable as much of it is footnoted. I also highly recommend the book that he begins the piece with for reading, one of the more fascinating books on the Kennedy Assassination. It centers on the murder of Kennedy’s mistress Mary Pinchot Meyer, who was (get this) a Washington Color School painter, lover of Kenneth Noland and Greenberg acolyte. On top of trying to carry through a plan to dose the militarists in DC with her pal, Timothy Leary’s LSD. Mary’s Mosaic: The CIA Conspiracy to Murder JFK by Peter Janney.
And to be clear, I have no idea about the website I found this on. Other than glancing at the “punk art” that I’ve never been a big fan of, I haven’t looked at any of the other articles. But “A Murder in Flatland: The Irruption of the Real in American Abstract Art” is one of the more brilliant pieces of writing I’ve read in years. Of course, as Jan sings above, I have to add”: “Thank you, American Art Writers, for setting the bar so low.”
The one thing that jumped out at me in the piece was this:
However, the artists themselves were not innocent dupes: Motherwell, Calder, Pollock, and Baziotes were all members of the American Committee for Cultural Freedom, with Rothko and Gottlieb sympathetic to the committee’s directive to purge the art world of communist influences.
This places the above artists playing direct roles in the McArthyite witch hunts of the times. And just look how they were all rewarded for their efforts. This is a really explosive charge, just as is the fact that Duchamp has been shown to be a near-pathological liar beginning with stealing another artists work by claiming credit for it’s creation.
It’s proof positive that American Art was conceived in a pack of lies and political propaganda. No doubt the American and Global Art World will find it of no interest as it would mean shedding themselves of the baked-in delusions they accepted the day they set foot in art school. Why nobody going into art school ever bothered to question any of it is another matter.
But it’s quite clear that these are delusional beliefs due to the simple fact that extremely few “artists” are capable of entertaining any questioning of their beliefs whatsoever. This is invariably the case with all cult belief systems. The premises can never be questioned as everything is faith-based. Even when overwhelming evidence is presented (forgeries, financial corruption, lying participants, auction rigging, etc. etc.) the believers still insist that the judgements of all people concerned are infallible and the artists chosen as the greatest geniuses at every stage of American rise to the top of the Arts were flawlessly picked by “the experts.”
Tom Wolfe’s “Painted Word” isn’t understood, much less read. Of course, Wolfe was identified by the art world as a reactionary, a fascist, and an anti-Semite. That’s pretty much the reaction of all people with cult beliefs to anyone who tries to connect them back to reality. Not only Wolfe wrote about what a sham it all was, but even the mighty insider Robert Hughes.
Here’s his description of the artists painting with the Greenberg prescribed formula:
Like gigantic watercolours, which they were, Noland’s targets and chevrons bloom and pulsate with light; they offer a pure, uncluttered hedonism to the eye. But that is all they do offer. The paintings Frankenthaler, Noland, Louis, and Jules Olitski did in the 1960s were, as a whole, the most openly decorative, anxiety-free, socially indifferent canvases in the history of American art. Yet what was written about them was among the most narrow, prescriptive, authoritarian criticism in the history of American letters – New York formalism of the sixties…
All Hughes is writing is the obvious. What we in the reality-based world would call the Truth.
Or one can read Tom Wolfe, who’s a far better eye than Hughes, as Wolfe was an estimable draftsman as well as writer. In other words, he knew what he was talking about.
Greenberg’s Post-Painterly Abstraction has gone under other names since then: Hard-Edge-Abstract and Color Field Abstract, to name two. But all of them can be defined by the way in which they further the process of reduction, i.e., the way they get rid of something – just a little bit more, if you please! How far we’ve come! How religiously we’ve cut away the fat! In the beginning we got rid of nineteenth-century storybook realism. Then we got rid of representational objects. Then we got rid of the third dimension altogether and got really flat (Abstract Expressionism). Then we got rid of airiness, brushstrokes, most of the paint, and the last viruses of drawing and complicated designs.
All of this work, which has been sold as the greatest art made in the 20th century is nowhere even close to being great art. It hardly even makes it as mediocre art. It’s so far below the accomplishments of the 19th century it isn’t funny. It’s pathetic. Yet’ Americans are going to cling to this to the grave because, in reality, it’s all they have. The blew to pieces the real tradition of great art. Jeered at it in impotent and infantile Duchampian gestures on the one hand. And threw around paint in structureless color orgies or sterile unfeeling graphic designs on the other.
And then they moved on to commercial art, Pop Art, as being the greatest art ever made. From the School of Paris in the late 19th Century to the School of Jeff Koons in the late 20th Century. Yet it’s all infallible. The greatest rise to the top. That’s how capitalism works. The dumb stuff descends to the botttom while the graffiti and abstract sublime and Marina Abramovic strip shows and youtube video art ascends to the place where it is recognized as True Genius. Let the people decide! They have made their decision!
Just look at this election cycle. The wisdom of the people. The wisdom of the American Media. The wisdom of the American Art world… Yes… America! Thank you for lowering the bar. Now everybody’s an artist. Everybody’s creative. Utopia is here.
It’s exciting. I’m off now to see the Star Wars Costumes at the Denver Art Museum and after that to the Clyfford Museum where along with my Karl Stockhausen, John Cage, and Velvet Underground Itunes mix I’ll undergo a confrontation with the Manichean primordial.
Plus keep my eyes out for the entry of any of these savages that might have gotten past the security guards.