Another Reason Modern Art Is Rubbish

gregster's picture
Submitted by gregster on Sat, 2012-12-22 06:51

Governmental tentacles can be found around every marketplace failure. This anti-Midas touch is mixed-economy government’s reliable talent. Every field into which government inveigles itself becomes distorted for the worse. Science, education, foreign policy [insert anything else].

Now we see government's dead hand was behind the rise of Abstract Expressionist art. Blank canvases. Paint-splattered, cigarette-stamped Pollocks. Rothkos and De Koonings.

All promoted by an arm of government as part of a futile attempt at pro-freedom propaganda.

The CIA fostered and promoted American Abstract Expressionist painting around the world for more than 20 years.”

“The connection is not quite as odd as it might appear. At this time the new agency, staffed mainly by Yale and Harvard graduates, many of whom collected art and wrote novels in their spare time, was a haven of liberalism when compared with a political world dominated by McCarthy or with J Edgar Hoover's FBI. If any official institution was in a position to celebrate the collection of Leninists, Trotskyites and heavy drinkers that made up the New York School, it was the CIA.”

“It was recognised that Abstract Expressionism was the kind of art that made Socialist Realism look even more stylised and more rigid and confined than it was.”

"We wanted to unite all the people who were writers, who were musicians, who were artists, to demonstrate that the West and the United States was devoted to freedom of expression and to intellectual achievement, without any rigid barriers as to what you must write, and what you must say, and what you must do, and what you must paint, which was what was going on in the Soviet Union. I think it was the most important division that the agency had, and I think that it played an enormous role in the Cold War."

“In 1958 the touring exhibition "The New American Painting", including works by Pollock, de Kooning, Motherwell and others, was on show in Paris. The Tate Gallery was keen to have it next, but could not afford to bring it over. Late in the day, an American millionaire and art lover, Julius Fleischmann, stepped in with the cash and the show was brought to London.

The money that Fleischmann provided, however, was not his but the CIA's.”

The CIA would have been better off leaving the Soviets to their own devices. Rational philosophy would have taught the CIA that using rubbish art was rubbish. The historical record clearly shows Soviet Russia was doomed without the promotion of some of the worst exponents of the West.

The irony of the Tate Gallery luvvies outdoing each other in praise of the CIA's exhibition.

Can we thank the CIA for Slayer too? Yes. The government is responsible for Slayer. A government education is a surefire weapon for crippling a child's conceptual faculties. The bewilderment engendered in the young directly created the multi-million market of tattooed, skeptic, nihilist mystics.

Careful next time you're in a gallery, huh? Some of the methods the art authorities have employed to pervert the public's critical faculties:


Jules Troy's picture

I once saw a woman who squirted paint out of her ass and then sold her anal ass "art " for STUPID amounts of money, one would hope that would at least include a good rub and tug for the fools that bought the canvas!


Kyrel Zantonavitch's picture

Abstract modern art is one of the great scams of all time, seemingly. In musical terms, it's like a three-year-old banging on a pot while distractedly babbling. In poetic terms, it's like reading random alphabet soup. What explains this, and how they get away with it, is currently beyond me. But many of these "painters" make millions.

Chris van Dijk writes

gregster's picture

"And then these artists, having proved the canvas flat, proceeded to spend the rest of their careers proving it over and over again. But, what is remarkable in saying, showing, or knowing that?"

"..the best book would be one that demonstrates this “truth” with page after page of meaningless shapes and squiggles, thus showing us the modernist’s profound definition of truth."



seddon's picture

The name of the episode was "Playback", (1975, TV series), and the guest star was Oscar Werner. He died in 1984. Enjoy.


Haha, Thanks Fred

gregster's picture

It may have been an episode called Suitable For Framing. I've viewed a few on Youtube in the hope of finding that one you mentioned and in doing so I see it's a humorous series. Some are in full, not that one.


seddon's picture

This post reminds me of an old COLOMBO episode where he is in a modern art gallery. He's walking around with the salesperson and he stops before something that puzzles him and he asks her, "What this one called?" And she replies, "Lieutenant, that's the air conditioning vent." Tee hee.


Art or Rubbish?!

Rosie's picture

Tonight I went to see the Ukelele Orchestra of Great Britain performing at The Wellington Town Hall.
Afterwards, as we strolled through the Civic Square, we pressed our noses to the windows of the National Art Gallery and saw some cleaners at work.

"'Is it art or rubbish?' has been a question that has vexed philosophers for many years - but not moreso than for the cleaners!" my companion whispered in to my ear!!!

"All are passive agents"

gregster's picture

"[Kyle's] speculation of [Kristin's] view of life." "If you want to know what her works mean, you'd have to ask her."

I put forth Kristin's self-description, which gave you your prognosis of her determinism. She could be quizzed on the meaning of her 'art' but the answers would not be objectively satisfactory. If her art is the re-creation of her values, her values are randomly ephemeral. Once the haphazard performance is done, that is it. Her art is not by snapshots, because one single photo of her 'art' would convey nothing of meaning. If a series of stills were taken, each would be equally drab and meaningless. Now, there was the one Unsatisfactory Unification of Control and if we're generous we could commiserate with her societal, satirical, genuine reproduction, as a whole. We don't have to ask her. We don't have to ask any 'artist' what the work means. One function of art is communication. A communication failure is an artistic failure characteristic of modernist art.


Kyle Jacob Biodrowski's picture

"Determinist"? "people are passive agents who are controlled by their surroundings" I take it you mean in general - most people.

Nope, I mean all people are passive agents who are controlled by their surroundings. But this is just my speculation of her view of life.

If you want to know what her works mean, you'd have to ask her.



Here is a talented digital painter

Jules Troy's picture

Although not painted in oils perhaps part of the new renaissance movement will embody the classical forms utilizing the power of the pixel. 

Yes, from another age..

gregster's picture

That one is part of the ceiling mural.


Jules Troy's picture

To me art like this is like Mario Lanza for the eyes!

Click it

gregster's picture




Atlas and the Hesperides, Boston Museum of Fine Arts, John Singer Sargent, 1925


Brian's Good Art Gallery


gregster's picture

I like the ARC Philosophy page. I believe I've not heard of the organisation. I also like many of the au naturel pieces in a previous link.

"Our children, going supposedly to the finest universities in the world, being taught by professors with Bachelors or Arts, Masters of Arts, Masters of Fine Arts, Masters of Art Education ... even Doctoral degrees, our children instead have been subjected to methodical brain-washing and taught to deny the evidence of their own senses.

[..] And what was that discovery for which they have been raised above Bouguereau, exalted over Gérôme, and celebrated beyond Ingres, David, Constable, Fragonard, Van Dyck, and Gainsborough or Poussin? Why in fact were they heralded to the absolute zenith ... the tiptop of human achievement ... being worthy even of placement shoulder to shoulder on pedestals right beside Rembrandt, Michelangelo, Leonardo, Caravaggio, Vermeer and Raphael? What did they do? Why were they glorified practically above all others that ever went before them? Ladies and gentleman, they proved ... amazing, incredible, and fantastic as it may seem, they proved that the canvas was flat ... flat and very thin ... skinny ... indeed, not even shallow, lacking any depth or meaning whatsoever.

And the flatter that they proved it to be the greater they were exalted. Cezanne collapsed the landscape, Matisse flattened our homes and our families, and Pollock, Rothko and de Kooning placed it all in a blender and splattered it against the wall. They made even pancakes look fat and chunky by comparison. But this was only part of the breathtaking breakthroughs of modernism ... and their offshoots flourished. Abstract expressionism, Cubism, Fauvism, minimalism, ColorField, Conceptual, op-art, pop-art and post modernism ... and to understand it all ... to understand, took very special people indeed, since the mass of humanity was too ignorant and stupid to understand. Like that famous advertisement in the NY Times said so many years ago ... Bad art ... or Good art? You be the judge, indeed."

Objectivist Brian Yoder is in the team.


gregster's picture

structures, systems and institutions that control behaviour

"Determinist"? "people are passive agents who are controlled by their surroundings" I take it you mean in general - most people. Because there are exceptions in that scenario. Who creates the structures, mans the systems and institutions? So you think she merely, convolutedly, reflects normal real life? Not great art by that measure then, and we're both being charitable. “Determinist” means she could not have done anything but what she presents? Sad.

Quite possibly.

Shane Pleasance's picture

I was merely referring to fashionable art. Such as it is.

My prose introduces this as a collectivist notion.
Were it only a notion.


Jules Troy's picture

To me as I understand what art should accomplish from an objectivist standpoint can be summed up in the mission statement of the Art Renewal Center.  This site is the repository of the best realist art in the world.


"After nearly 100 years of oppression, finally artists who believe in the Realist tradition have a champion and a home."
The Art Renewal Center has pulled together an energetic, optimistic and brilliantly talented base of artists, many who run our ARC Approved™ Ateliers and devotedly paint their hearts out. As true masters in the visual arts, they are training and inspiring the next generation of artists, scholars and teachers, to protect, preserve and perpetuate traditional techniques, training and human subject matter for our culture, our society and posterity.

The ARC defines a "living master" as one who has the rare talent, experience and expertise to create great humanistic works of art that are seemingly executed with effortless perfection. One who has been trained under the rigorous academic principles of Realism, and mastered every parameter and nuance of great painting or sculpture. Some have been fortunate enough to have trained as an apprentice to a master, or study at an atelier or school outside of today's colleges and Universities that have abandoned centuries of proven artistic principles and values. With proper instruction so very difficult to find, some have trained themselves through books and countless visits to museums for intensive studies of what has been done before them. We applaud these artists, who through their heartfelt dedication have overcome the adverse effects of the modern movement. They, and the others we have yet to add to our site, are the greatest artists alive at this time. Many of them have yet to do their greatest works, but we are proud and delighted to exhibit for you their finest works to date, and to regularly add new works as they become available.

Amazingly, we at the center of this storm have happily discovered that there is truly great talent alive and well in the world. We have painstakingly identified as many of them as we can within the constraints of an educational charity with limited funding, and we are incredibly proud to present them to the nearly half million visitors who come to our site every 4 to 6 weeks. In fact, the ARC is currently running over 20,000,000 hits per month, which makes us the largest on line museum on the net, and our rate of growth is so staggering, that we are projecting over 100,000,000 hits per month within 2 years.

Below, we present to you, our ARC Living Artists™ and Living Masters™ in reverse alphabetical order, and we feel confident that each and every visitor to our Approved Artists™ and Living Masters™ gallery will have 4 or 5 favorites. Eventually we will not shrink from making hard qualitative judgments, but for the present we will be content to present them for your consideration.

We currently have three classifications for ARC artists:
ARCLA - ARC Living Artist™ 
ARCALM - ARC Associate Living Master™ 
ARCLM - ARC Living Master™ 
To read definitions on the artist classifications, please click here.

Following is a thumbnail of one of each of their best works of art, which is a hyperlink that you can click to enter their more complete galleries here at the ARC. If you are interested in purchasing a work, having one commissioned, or seeing what they may have available, write us at and we'll be happy to contact the artists on your behalf. Any commissions earned by ARC are added 100% to our Scholarship or Salon fund.

For Information on how to apply to be an ARC Living Artist™ or Living Master™ 

Wikid fractal art

Jules Troy's picture

I know of some talented 3d artists that also create skin textures for 3d models and apply them like tatoos.  Very interesting!


Kyle Jacob Biodrowski's picture

Her blurb says "Her practice is concerned with the relationship between sculpture and performance that underpins her long-term investigation of structures, systems and institutions that control behaviour. She is particularly interested in exposing physical structures that participate in power systems that control the body. She works from the premise that sculptural activity can articulate space using the compositional rules of choreography combined with sculptural props."

After reading this, it seems she is a determinist. Her view is that people are passive agents who are controlled by their surroundings. In this light, the video makes much more sense. The beam (or whatever it is) she is carrying is symbolic of the various structures, objects, and environment that control her actions.

The art is in the ability to

Shane Pleasance's picture

to provide empty stylistic/artisitic containers for the hapless, vacuous and indecisive to fill, to become part of - to indicate 'belonging'.

And to pay for, perhaps.

Here is a vile, representative work in progress of my poetry/prose:


You were an empty vessel

Devoid of thought or taught,

Absolved of right or might.

 You cast about.

Set the soul you sought for sale (sail?) and for fear from finding fault – fumbled and mumbled - then stumbled


       gladly into the arms of the cooing collective carcass;

a morass, and compass with no North.

No mouth

No ears

Sans teeth

But warm. And fed with suckle bread – the table set.

And at the head? Both spout and snout!

The mouthpiece, with vulture neck and hat of have.

Crave the new flavour – sweet and meat.

Mix it and mash it – (there’s no teeth remember!)

"Come here come here come here my little one:” “Ths is what you eat ths is what you say ths is where you live for you are mine and I am yours and I begin where you end never fend nor feel not real no appeal but heeled with leather of steal and squeal for your nxt meal there there come here come here don’t fear that was not a sneer here is no need nor reason! lol free? no need to use the f word see?”

You might look up

Conscience went West with dignity, but you see something you remember.

Something real which stirred you once

To which you had to climb – it seemed so

                                   u n r e a c h a b l e

now there is no need.

No - reason - left bereft – and heavy now – may smell of wet sheep, but you sleep soundly and proud

To shout the clout - and without doubt.

Don’t tremble, it will tip out.

                                © 2012 Shane Pleasance

Fuck that fractal crap here is REAL art alive and well

Jules Troy's picture

Linz, Gregster, Olivia and anyone else who loves excellence this site will bring you many hours of joy.


gregster's picture

No explanation for that one. She found an explanation too difficult, or too revealing.

Her blurb says "Her practice is concerned with the relationship between sculpture and performance that underpins her long-term investigation of structures, systems and institutions that control behaviour. She is particularly interested in exposing physical structures that participate in power systems that control the body. She works from the premise that sculptural activity can articulate space using the compositional rules of choreography combined with sculptural props."

Her climb up the hill, to me, signifies that life is purposeless, meaningless.


Kyle Jacob Biodrowski's picture

Here she carries an odd long object up a hill.

I must not be "deep" enough to understand it. Is there any explanation that comes along with that video?

Hello Shane

gregster's picture

Happy New Year to you.

I can see the skill there; to come up with one’s own computer generations, a technical artistry with little meaning unless one stretches to imagine fractals in nature. So then it's just an impersonation of nature.

This ‘artist’ Kristin Sherman has been through Auckland University’s wringer. I knew her in Auckland and London. I didn’t know what she’d become. Installations are her thing. Listen to this from her site:

“With its myriad of multi–function, pseudo spaces [..] a uniquely facilitative context for experimental live performance to take place, drawing a truly eclectic audience. Amidst a back drop of adults dressed in scout uniforms, and milling theatre goers the audience was led to the ornate Haversham room to view Kristin Sherman & Natasha Rosling’s LAM LAM IG POMF.

Their dada title didn’t disappoint. The pair transformed the paneled octagonal space with a series of squeaky, scratchy surfaces and squidgy sculptural forms. Six teenage girls wearing black, complete with gaffa tape faux protective headgear, also occupied the space.”

Unsatisfactory Unification of Control, a ridiculous video. Here she carries an odd long object up a hill. The only art is in the farting about.

Tate, London

Shane Pleasance's picture

I visited the Tate in November 2009, and recall the walk to it - along the Thames and past the Globe - was more inspiring than anything in the building.

Dire and dour.

In fact, worryingly, the only thought I took away to look up was a Pollock, fractals.

Subsequently I discovered an old school friend was inspired by Pollock and his paint by maths.

Gregster despair not!

Jules Troy's picture

Art is still alive and well check out this person's oil paintings!


F L Light's picture

Perhaps pervasive egalitarianism in both artist and his portrait precludes striking differentiation in a good sense. The portraits of academics can be quite revealing.

This is by an American, John Howard Sanden http://www.mastersofportraitar...

Marta Dahlig

Jules Troy's picture

One of my favorite digital artists.

and another!

Good link

gregster's picture

Thank you Fred. Some of those works are very good. No blank canvases. No masters, but then we wouldn't expect a Rembrandt these days.

Most tried their art honestly. Do correct me.

Yes Sandi

gregster's picture

I saw the original. It shows the liberal, irrational bent of the participants. Ridiculous and unattached to reality. Did Piers Morgan write it? Well done on your version.

For a portrait

F L Light's picture

A list of artists with samples in the royal Society of Portrait Painters:

Yes and the same could be said

Sandi's picture

for publishers and publicists, actors and their handlers.

Highly manipulated market

F L Light's picture

what expands the market may be manipulated by major galleries and patrons, who induce appreciation with their publicists.

I take it

gregster's picture

from the silence of the likes of No Goode that my theory is confirmed. Slayer, by and for statists.

Modern art

Jules Troy's picture

Makes me want to vomit, always has, always will.

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