Commentary: Defining the Disaster

Ed Driscoll: Starting to Peel Away the Layers

I have been very gratified about the increasing coverage of the state of the visual arts in the various conservative blogs I follow. Any political victories  that can be won will be only temporary if the overwhelming toxic direction of our culture is not challenged. Art is at the core of the struggle for the type of future we will have.

It helps that establishment exhibitionist Camille Paglia is hyping a new book on the topic. An elitist insider is acknowledging that there are problems in the arts, serious issues of relevance and quality. It’s an important  first step, a chink in the armor of the cultural leftist hegemony.

From what I gather from the initial presentations, Paglia has identified the breakdown of tangible technical skills on the one hand, and the creeping dominance of ideology on the other, on why art has lost its ability to connect with a broad audience. She admits that hostility towards capitalism has isolated agenda-driven artists from participating in the genuine dynamics of our culture.
And she rightly places blame on the institutional elements that perpetuate this sick environment.

But as a participant and beneficiary of the the same system she is critiquing, she does not go far enough in her analysis.  The results she describes-acceptance of impermanence, rigid conformity, rejection of religion, the great disconnect of art from life-are all goals of the Marxist-driven long march through the institutions. The horrible state of the arts is no accident, but the outcome of the determined efforts of the those who are looking to destroy our society and install themselves as rulers over a mythical egalitarian paradise. It has been a covert war of conquest.

In his post Ed Driscoll sees through Paglia’s positioning, and examines the underlying assumptions of the Modernist era-art as a force of social deconstruction. This mode was not so much about art as it was about fulfilling the agenda. Modern Art was an early victim of Marxist infiltration. An exciting era of new possibilities was mutated into a tool of destruction, a weapon of the glorious revolution.

Remodernism is the chance to get art back on track. It rejects the corruption of art by leftist establishment rules, and releases the artist to express individual vision. Remodernism is the optimistic art of the future.

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