DESTROYER OF WORLDS: THE ART WORLD'S DESCENT INTO IRRELEVANCE AND DEGENERACY

by Cainus Maxus

"My principles are only those that, before the French Revolution, every well-born person considered sane and normal." Julius Evola

OBAMA ARTIST'S RACIAL AND AESTHETIC INFERIORITY COMPLEX

‏by Colin Liddell

@NewAltRight

People seem to be misunderstanding the earlier work of Kehinde Wiley, the artist chosen to paint ex-President Obama's official portrait. These earlier paintings show Black women beheading White women (see above). Many are seeing these works as evidence of anti-White race hatred. Although that's clearly there, there are also other elements, some of which are quite surprising.

SPEAKING ART TO POWER

by Andy Nowicki

A while ago, I wrote an article entitled “Alt Right Art,” a sort of mini-manifesto for dissident aesthetic voices who find their scope impaired by the machinations and ministrations of a dully ultra-conformist and punitively small-minded age, an age wherein the once-revolutionary Left has seized hold of nearly all established citadels of thought, its entrenched cultural commissars ruthlessly enforcing their ever more pernicious institutional “innovations” with monotonous fervor and plodding regularity, and in so doing, rendering adherence to embattled traditional mores the only possible means of rebellion, excitement, redemption, and relief.

I don’t retract a word from the text of that earlier piece, as I honestly don’t think it contains a speck of untruth. However, I now discern that, apt though “Alt Right Art” is in in diagnosing what is needful, it nevertheless lacks a sense of completion. Put simply, there is more that must be said on the subject.

ANDY NOWICKI: ALT-RIGHT NOVELIST

ARONOFSKY'S TWIN TRAGEDIES

Natalie Portman in Black Swan (2010)

by Andy Nowicki

Darren Aronofsky's remarkable 2010 movie Black Swan functions as an aesthetic companion piece to his equally striking 2008 offering, The Wrestler. The two films take place in settings that could not possibly be more different, yet each tells essentially the same story, a story that is undeniably relevant to our age and culture.

ALT-RIGHT ART

Once it's seen, it can't be unseen.

by Andy Nowicki

Left-liberal attitudes and habits of mind may at one time have been radical, provocative, and gutsy, but today they are staid, stale, conventional, and boring. Any honest contemporary cultural Marxist will have to admit that, politically speaking, his side now holds all significant power. Those who openly decline to subscribe to the ideological establishment's point of view on such matters as race, gender, and sexuality have in effect committed social suicide; having put themselves utterly at the mercy of the powers-that-be, such unfortunates have left themselves open to attack by legions of official Zeitgeist-enforcers and their numerous toadying minions.

SPEAKING ART TO POWER, REDUX

left to right, Art vs. Power

At his Soundcloud page, Andy Nowicki reads his essay "Speaking Art to Power," posted earlier this year at Alternative Right.

Listen here: https://soundcloud.com/jnow1101/speaking-art-to-power

Read the text of the article here.

MODERN ART: AN ARTFUL SWINDLE

by Buffalo Jenkins

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 of hierarchy, naturalism, symmetry, decoration, technical merit, self-determination and ‘becoming’ in art. Styles in painting, sculpture, and architecture that had evolved from European antiquity came to a crashing halt on the pages of ‘art theory’ criticism – a ridiculous construct of universalism that tried (successfully!) to embrace pure abstraction as progressivism in art.

FRANCIS BACON AND THE DEGENERATION OF THE WEST

Lucien Freud or the Elephant Man?

by Tim Haydon

A triptych by the Irish-born British artist Francis Bacon was sold by Christie’s in New York for the record sum for any artwork at auction of £89 million this month.

Bacon’s three depictions of Freud seem sketchy indeed. Each shows him seated within a framework of lines that look like aids to drawing perspective. Freud’s foot escapes from this framework cage in some sort of symbolism. The artist breaking the boundaries of art?

Freud’s face is a distorted blob, as if, instead of Freud as a sitter, Bacon was in lurid fashion painting the Elephant Man. Actually, if one had not been told, one would have no idea who the sitter was. It could have been almost anyone – a stranger off the street. And here we have the key to this work. For who tells us that this is Freud? It is Francis Bacon, the artist.