MODERN ART: AN ARTFUL SWINDLE
The first and most sweeping swindle perpetrated upon the West by its enemies was the obfuscation of the definition of Art.
Starting with Kandinsky’s ‘Expressionism’ and bolstered by Clement Greenburg’s ‘Artspeak’ criticism, this new abstract creativity overwhelmed all tradition in art. Swept away in this nihilist flood were traditional art tutelage, inherited skills dating back to prehistory, high culture, good taste, standards or hierarchy, naturalism, symmetry, decoration, technical merit, self-determination and ‘becoming’ in art. Styles in painting, sculpture, architecture that had evolved from European antiquity came to a crashing halt on the pages of ‘art theory’ criticism - a ridiculous construct of universalism t0hat tried (successfully!) to embrace pure abstraction as progressivism in art.
Irony became the vogue. Random splatters of paint, intentionally awkward, ugly forms, and childish primitivism became the preferred modes of intellectual culture, via reams of this irrational wordsmithing. True progress was hijacked and perverted by cultural Marxism. This later would be the same brand of relativism they found could be successfully applied to all aspects of western tradition and taste, beyond just the false edifying of abstraction as intellectualism, but as a means of attacking every aspect of European culture. The self-eating snake, wracked with guilt, wallowing in weakness and trembling with pity. Their success in art criticism and art theory not only paved the way for total degradation, but the ongoing artlessness of our western world remains and enormous obstacle in allowing us to rediscover our true self-becoming.
Today we have ‘conceptualism’ and ‘abstract expressionism’ ruling our art academies - one may take a lazy preamble into any ‘modern art’ gallery to see what kind of mindless, indefinable childishness this results in. Literal piles of garbage, arranged sex dolls, people standing in animal suits, you may find pretty much anything other than, ironically, actual art. Many voluminous rants about the imagined merits of this perpetual stream of anti-art are printed and spoken of in modern art academies and critical literature. But not a word of it amounts to anything more than liberal guilt, juvenile self-hate, and profuse obsession with human failings and perversions. Nothing that smacks of beauty of positivity or self-affirmation can fall under this new modernist art definition. All serves to remind us that grandeur is an illusion, human affairs are nihilistically limited, and we are not worth saving. . . .
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