Maggots feeding off the body of art
(3 April 2009)
Reflections
on modern art, morality and the state of contemporary
culture http://www.culturewars.org.uk/index.php/site/article/maggots_feeding_on_the_body_of_art/
An
entry for the 2003 Turner Prize was a sculpture depicting bodies
being picked at by maggots. Entitled ‘Sex’, it was by Jake and
Dinos Chapman who were the bookmakers’ favourites and grabbed
headlines as the most shocking nominees. Maggots feeding off a body
is a fitting picture of contemporary artists. Contemporary art has
developed from great artistic traditions, yet often destroys the
common values embodied within them. The resultant separation of form
and content undermines traditional art without managing to create
new meanings.
Contemporary
art is not really art at all. Today’s art is commodified and used
to make money for the elites who buy and sell it. Art is a financial
asset. Sotheby’s contemporary art auction in July last year raised
more than $1 billion, which shows how the world’s super-rich are
investing in art in spite of gloomy economic predictions. Sotheby’s
evening contemporary art sale raised 95 million pounds, the highest
total for a summer contemporary auction held in Europe and just
below the overall regional record set in February. Francis Bacon’s
‘Study for Head of George Dyer’, the artist’s lover, fetched
$27.4 million, including commission; Jean-Michel Basquiat’s
‘Untitled (Pecho/Oreja)’, owned by Irish rock band U2, sold for
$10.1 million. Senior executives are confident the art market will
sustain soaring values in spite of falling stocks and house prices
with rising oil costs. Jussi Pylkkanen, President of Christie’s
Europe, said the success of auctions held around the world in recent
months ‘demonstrated the continued strength, depth and breadth of
the global art market’.
Contemporary
art is a movement of an elite that finances its interests through
grants and sponsorship from global corporations. It is exhibited by
commercial art galleries, private collectors, corporations, publicly
funded arts organisations, contemporary art museums or by the
artists themselves who are supported by grants, awards and prizes as
well as by selling work. There are interlocking and exclusive
relationships between publicly funded contemporary art organisations
and corporations. A select few dealers represent the artists
featured in major publicly funded contemporary art museums, whilst
individual collectors are highly influential - Charles Saatchi has
dominated the market in British contemporary art for twenty years.
Historically,
there were qualities that denoted an idea of civilisation that gave
meaning to culture: confidence and a sense of belief in one’s own
people that generated a sense of permanence. This was reflected by
the arts elite of the day. A major collector at the beginnings of
our civilisation was King Athelstan. Among his gifts to
Chester-le-Street was a tenth-century West Saxon codex, containing
Bede’s eighth-century prose and verse Lives of the sixth-century
St Cuthbert, with a frontispiece illustrating the king presenting
the book to St Cuthbert. There were episcopal and royal records in
this book, including a list of popes, alongside the Cuthbert
material. Athelstan stands out among the relic-collectors of late
Saxon England as a great relic-collector of his time. Several
churches’ traditions attributed their own collections to his
religious largesse.
There
was a self-belief in our society’s values and a desire to receive
them from our ancestors and transmit them to our descendants. These
values came from a sense of continuity: that we have endured and
will continue to do so; but now it seems this process is being
jettisoned for a vague future that is being artificially constructed
by cultural elites. To combat this, artists would need not only
great talent but also independence of mind and the courage to stand
alone and rebel; not just go along with fashion for personal gain.
Promoting
cultural diversity is the Arts Council’s main goal. Here their
ideology of conforming to fashion is expressed in customary
Doublespeak: it aims to encourage an environment where the arts
reflect the full range and diversity of society. The Council wants
everyone to have access to excellent arts activity. To make this
happen, it is focussing on race and ethnicity, disability and social
inclusion. More than 10 per cent of regularly funded organisations
are run by ‘Black and Minority Ethnic’ (BME) organisations that
take a lead role in supporting BME artists. By 2007/2008, 25 per
cent of the London’s regularly funded organisations will be Black
and Minority Ethnic arts organisations. In what sense are these
‘inclusive’? However, ventures representative of our culture,
like the English Music Festival, are discriminated against on the
grounds they are ‘exclusive’.
But
there is a tension between the traditional culture that elites
benefit from themselves, and that they want to give to society. The
current chairman of Arts Council England is Sir Christopher John
Frayling (born 25 December 1946) an educationalist and writer, known
for his study of popular culture. He read history at Churchill
College, Cambridge and gained a PhD in the study of Jean-Jacques
Rousseau. He taught history at the University of Bath and in 1979
was appointed Professor of Cultural History at London’s
post-graduate art and design school, the Royal College of Art. Since
1996 he has been Rector in charge of the College. He is also
Chairman of the Design Council, Chairman of the Royal Mint Advisory
Committee, and a Trustee of the
Victoria
and Albert Museum. He was a governor of the British Film Institute
in the 1980s. He was knighted in 2001 for ‘Services to Art and
Design Education’.
A
similar sense of double standards is shown by many artists. The
Evening Standard told of the millions that Damien Hirst is spending
on the mansion once owned by Lord Sudeley’s family. Hirst is
supposedly worth £135 million. Death is a central theme in Hirst’s
works, a series in which dead animals like a shark, a sheep and a
cow are preserved—sometimes having been dissected—in
formaldehyde. The Physical Impossibility of Death in the Mind of
Someone Living is a 14-foot tiger shark immersed in formaldehyde in
a vitrine. Arts Council England is the national development agency
for encouraging this disturbing practice. It distributes public
money from the Government and the National Lottery to the arts
organisations that share their ideology and refuse those that do
not.
A
further feature of contemporary art is paedophilia. Bowie’s 1975
concept album 1.Outside has
a tale about the dismemberment of a young teenage girl. Hypocrisy is
another. In his video ‘Let’s Dance’ Bowie is filmed playing
the guitar and singing while watching an Aboriginal couple
struggling with metaphors of Western cultural imperialism. It looks
cool and gives an atmosphere of culture and poverty. Bowie is worth
£200 million. Modern art is not really art but anti-art and
detached from true culture which develops amongst a people or
community and grows traditions over time. However, the irony is that
the people producing unmade beds or piles of bricks need the
established old masters and traditional art as a background; for if
the old standards were truly swept away, no one would be able to
say: ‘Oooh, what a provocative statement, Tracey’.
For
the June 2008 Royal Academy Summer Exhibition, Tracey Emin was
invited be curator of a gallery. The sex-themed works on show
include a Zebra with an erection. ‘... it is a crankshaft that
operates a model of a zebra, which in turn is copulating with a
model of woman in Victorian dress’ as the hackneyed image of
prudery. It is pretentious and has no intrinsic merit; only what the
elites who buy and sell it give it. It is a piece of propaganda for
cultural elites; changing the Victorian woman to someone like Cherie
Blair or Diane Abbott would provoke hysterical prejudice from these
pseuds.
The
Chapman brothers are conceptual artists who work together. They were
part of the Young British Artists movement that was promoted by
Charles Saatchi who also sponsored Damien Hirst and Tracey Emin.
Jake Chapman has published a number of catalogue essays and pieces
of art criticism in his own right, as well as a book,Meatphysics in
2003. The brothers have also designed a label for Beck’s beer as
part of a series of limited edition labels produced by contemporary
artists.
The
Chapman brothers were nominated for the Turner Prize in 2003, and
their work also centred on themes of sex and death. Their piece
‘Sex’ referred to their previous work ‘Great Deeds against the
Dead’. The original work shows three dismembered corpses hanging
from a tree; ‘Sex’ shows the same scenario, but in a further
state of decay. Clowns’ noses have been added to the skulls of the
corpses, while snakes, rats and insects, similar to ones in joke
shops, cover the piece. ‘Death’ is two sex dolls, placed on top
of each other, head-to-toe in the 69 sex position.
But
one could get still more pretentious than this. In May 2008 the BBC
Symphony Orchestra gave a performance of composer John Cage’s
4’33”, which does not have a single note. Radio 3 broadcast it
live and switched off its emergency system that cuts in when there
is silence. The performance took place at London’s concrete block
the Barbican Centre. TV viewers were also able to watch the event
when BBC Four broadcast the concert. Cage’s justification for
4’33” was to demonstrate that ‘wherever we are what we hear
mostly is noise’. General manager Paul Hughes told BBC Radio 5
Live the orchestra had rehearsed to ‘get in the right frame of
mind’. Even though they had no notes to play, the musicians tuned
up and then turned pages of the score after each of the three
‘movements’ specified by the composer. The audience applauded
enthusiastically.
Mr
Hughes said Cage believed ‘music was all around us all the time’
and the piece was his attempt to make the audience focus on sounds
that were ‘part of our everyday lives’. But the audience at the
premiere in 1952 was not so gullible and people were heard walking
out. Mr Hughes said, ‘They were completely outraged and extremely
angry’.
An
interesting precedent comes from 1937 when novelist Graham Greene
reviewed the Shirley Temple film Wee
Willie Winkie for Night
and Day magazine.
He was sued by Twentieth Century Fox and Miss Temple. The plaintiffs
objected to this section:
‘Miss Shirley Temple’s case, though, has peculiar interest: infancy with her is a disguise, her appeal is more secret and adult. Already two years ago she was a fancy little piece (real childhood, I think, went out after The Littlest Rebel). InCaptain January she wore trousers with the mature suggestiveness of a Dietrich: her neat and well-developed rump twisted in the tap-dance: her eyes had a sidelong searching coquetry. Now in Wee Willie Winkie, wearing short kilts, she is a complete totsy. Watch her swaggering stride across the Indian barrack-square: hear the gasp of excited expectation from her antique audience when the sergeant’s palm is raised: watch the way she measures a man with agile studio eyes, with dimpled depravity. Adult emotions of love and grief glissade across the mask of childhood, a childhood skin-deep. It is clever, but it cannot last. Her admirers - middle-aged men and clergymen - respond to her dubious coquetry, to the sight of her well-shaped and desirable little body, packed with enormous vitality, only because the safety curtain of story and dialogue drops between their intelligence and their desire.’
When
this review was written Miss Temple was eight years old. Greene
suggested the film makers were pandering to those older men who had
an unhealthy and perverted sexual interest in young children. This
was a complaint about the sexualisation of children by Hollywood.
Greene found himself being vilified as some sort of abuser of
children for daring to point out that Temple’s films were a magnet
for dirty old men. The basis of the claim was that Greene’s
article damaged her and was libellous to the extent that it
suggested she was deliberately sexually provocative. The trial was
before the Lord Chief Justice of England in the Kings Bench Division
on 22 March 1938. Temple’s counsel described the article as ‘one
of the most horrible libels that one could well imagine’, and
described Night
and Day magazine
as a ‘beastly publication’. The magazine was on its last legs
anyway the trial finished it off.
Greene
was in Mexico and apologised through his counsel for the libel and
paid £3500 in damages to 20th Century Fox/Temple - a considerable
sum then. The Lord Chief Justice wanted Greene arrested and
prosecuted for criminal libel, describing the article as ‘a gross
outrage’ but he was not arrested. Now, it is clear Temple’s
films did portray children as objects of lust which is now
commonplace - TV soaps have a tendency to show their younger female
cast as objects to arouse desire and break down people’s
inhibitions to grooming young girls. Those who do this are not
innocent television producers and writers but culpable and therefore
punishable. On EastEnders, Jim Branning’s daughter Lauren
(Madeline Duggan) who was born on 29 March 1994, usually wears a
very short dress; Lucy Beale (Melissa Suffield), who was born on 9
December 1993, looks as though she is wearing a push-up bra. On
Coronation Street Kevin Webster’s daughter Sophie’s breasts
almost fall out of her top and she is about 14. Contemporary art and
entertainment is creating a climate where our young people are only
valued as sex objects. Parents who watch these programmes should
start to realise what is being done to their children and future
generations of society.
An entry for the 2003 Turner Prize was a sculpture depicting bodies being picked at by maggots. Entitled Sex, it was by Jake and Dinos Chapman who made the headlines as the most shocking nominees. Maggots feeding off a body is a fitting out picture of contemporary artists. They are corrupt, degraded, unimaginative and parasitic as they feed off our great artistic traditions and try to destroy them. Their aim is to destroy our values and something that gives meaning to our lives. Is a urinal, say, an artistic subject? No, it is intrinsically unartistic, even though it might have pleasing curves, and to write about it as such does not make it artistic but conceptually separates artistic form from subject. Contemporary art is not really art at all and should be called something else. But it is a financial asset for the global elites who buy and sell it and run the Arts Councils that manage artistic creativity.
Sotheby's contemporary art auction in July 2008 raised more than $1 billion which shows how the Global elites are investing in art regardless of economic predictions. Their evening contemporary art sale raised 95 million pounds ($189 million), the highest total for a summer contemporary auction held in Europe and just below the overall regional record set in February. Francis Bacon's "Study for Head of George Dyer", the artist's lover, fetched $27.4 million, including commission; Jean-Michel Basquiat's "Untitled ", was sold by rock band U2 for $10.1 million. Competitors Christie's sold art worth $172 million at its sale. Only the less important Sotheby's contemporary day sale is left and the two main auctioneers have sold works worth just over $1 billion during the summer season, which includes impressionist, modern, post-war and contemporary art. Christie's raised around $552 million and Sotheby's about $449 million so far. Senior executives are confidant that the art market will sustain soaring values in spite of falling stocks and house prices with rising oil costs. Russian elites have been a big factor in booming art sales, there is worry they may inflate impressionist prices in the same way Japanese money did around 20 years ago then disappeared causing the market to crash.
Contemporary art is the preserve of an elite, a large clique, that finance their interests through grants from the arts council, local authorities and sponsorship from global corporations. It is exhibited by commercial art galleries, private collectors, corporations, publicly funded arts organizations, contemporary art museums or by the artists themselves who are supported by grants, awards and prizes as well as by selling work. These are interlocking and exclusive relationships. Individual members of the elite are highly influential - Charles Saatchi has dominated the market in British contemporary art for twenty years and is a major sponsor and collector.
A major sponsor and collector when our civilisation was developing was King Athelstan. His attitude and intentions show how different are the motives of sponsors at each end of this arc of culture. He used his collection in service of God and to develop something spiritual. Like his gifts, to Chester-le-Street, a tenth-century West Saxon codex, containing Bede's eighth-century prose and verse Lives of the sixth-century St. Cuthbert, with a frontispiece illustrating the king presenting the book to St.Cuthbert. There were episcopal and royal records in this book, including a list of popes, with the Cuthbert material. There is evidence that Athelstan also supported the shrines of St. John of Beverley and St. Wilfrid at Ripon. A ring preserved at Bury St. Edmunds in East Anglia bears as its inscription the names of St. John of Beverley and Athelstan (see Rollason 1989). Traditions of several churches traditions such as Malmesbury attributed their collections to his religious benevolence. The prologue to an Old English relic-list from Exeter (Rollason.), tells how royal agents purchased "with the king's earthly treasure the most valuable treasures of all - holy relics". A letter from the prior at St. Samson's at Dol in Brittany is evidence of Athelstan's interest in
relics outside England. These qualities give a clue to what creates civilisation - confidence in one’s own people and the sense of the civilisation’s permanence. Traditional masterpieces have such individual detail one is enrapt for the entire day after first looking at the work as a whole. They are so deep. We need belief in our inherited values from our ancestors and to transmit them to our descendants. We know that what gives life meaning is our emotional lives, our relationships, our beliefs and values. Our values come from a sense of continuity: that we have endured for long and will continue to do so and we receive these values from our forbears.
The arts Council privileges some ethic groups as expressed in their customary Doublespeak:” It (the Arts Council) aims to encourage an environment where the arts reflect the full range and diversity of society. The Council wants everyone to have access to excellent arts activity. To make this happen, it is focussing on race and ethnicity, disability and social inclusion. More than 10 per cent of regularly funded organisations are run by Black and minority ethnic artists and organisations that take a lead role in supporting BME artists. By 2007/2008, 25 per cent of the London’s regularly funded organisations will be Black and minority ethnic arts organisations. In what sense are these not “inclusive”? However, ventures representative of our culture, like the English Music Festival, are discriminated against on the grounds they are “Exclusive.” This ideology is disseminated through the channels of communication the cultural elites control. Ethnic arts are treated with reverence - ours are degraded.
The current chairman of Arts Council England, is Sir Christopher John Frayling an educationalist and writer, known for his study of popular culture. He read history at Churchill College, Cambridge and gained a PhD in the study of Jean-Jacques Rousseau. He taught history at the University of Bath and in 1979 was appointed Professor of Cultural History at London's post-graduate art and design school, the Royal College of Art. Since 1996 he has been Rector in charge of the College. He is also Chairman of the Design Council, Chairman of the Royal Mint Advisory Committee, and a Trustee of the Victoria and Albert Museum. He was a governor of the British Film Institute in the 1980s. He was knighted in 2001 for "Services to Art and Design Education"
Chairwoman of the London Arts Board is Lady Sue Woodford Hollick, a businesswoman and consultant with extensive interests in broadcasting and the arts. She is a former producer and director of World in Action for Granada Television and founding Commissioning Editor of multicultural programmes at Channel 4 television. She has been Chairwoman of Arts Council England, London since September 2000 and is currently a member of the Tate Modern Advisory Council. She is founder and Co-Director of Bringing Up Baby, a childcare company and Chair of the UK board of the African Medical & Research Foundation, Africa’s leading health development organization. Her husband, Lord Hollick, is Chair of the South Bank Centre, which is funded by Arts Council England.
The usual chairman of the Turner Prize Committee is Sir Nicholas Serota who grew up in Hampstead. His mother was a Labour Minister for Health in Harold Wilson's government, who was made a life peer and governor of the BBC. He was educated at Haberdashers' Aske's School and then read Economics at Christ's Cambridge before switching to History of Art. He completed a Masters degree at the Courtauld Institute of Art under the supervision of Anthony Blunt and Anita Brookner.
In the 1990s contemporary art merged with popular culture and artists are promoted as stars. In June 2008 The Evening Standard told of the Millions that Damien Hirst is spending on the mansion once owned by Lord Sudeley's family. Hirst is supposedly worth £135 million. Death is a central theme in Hirst's works like a series in which dead animals like a shark, a
sheep and a cow are preserved—sometimes having been dissected—in formaldehyde. The Physical Impossibility of Death in the Mind of Someone Living is a 14-foot tiger shark immersed in formaldehyde in a vitrine. In June 2007, his Lullaby Spring sold for £9.65
million at Sotheby's in London then in 2007, For The Love of God sold for £50 million to an anonymous investment group. Arts Council England is the national development agency for encouraging the maggots. It distributes public money from the Government and the National Lottery to the arts organisations who share their ideology and refuse those that do not. Individuals and organisations can apply to the Arts Council for funding from its own budget or from the Lottery.
Contemporary art is negative and the practitioners use it to destroy the Art they feed off like maggots while they parasitically take what they can. They not only try to destroy art they kill their babies. Lynn Barber wrote of Tracey Emin in The Observer of 22 April 2008 :” The first abortion, in 1990, was horrendously bodged because no one realised she was carrying twins: the second abortion, she says, was 'revenge' for the first. Contemporary art is a sort of show to shock which is a petty, destructive motive and meant to hurt innocent people. What they really enjoy is shocking elderly people and children. Of Grayson Perry’s “Barbaric Splendour” the Satchi Gallery wrote: “His form and content is always incongruous: classic Grecian-like urns bearing friezes of car-wrecks, cell-phones, supermodels, as well as more dark and literary scenes often incorporating auto-biographical references.” They need traditional art as a background for if the old standards were truly swept away, no one would be able to say: "What a provocative statement, Tracy."
Tracey Emin was made Royal Academician by the Royal Academy of Arts On 29 March 2007. Emin became a member of the Royal Academy joining an elite group of artists including David Hockney, Sir Peter Blake, Anthony Caro and Alison Wilding. This entitles Emin to exhibit up to six works in the annual summer exhibition. At the 2007 Venice Biennale she hosted celebrity guests, including Sir Elton John and his partner David Furnish, Viscount Linley and the model Naomi Campbell. When Jake Chapman married model Rosemary Ferguson in Christ Church, Spitalfields, among the guests were Kate Moss, Sadie Frost, Noel Gallagher’s ex-wife Meg Matthews and society photographer Sam Taylor-Wood. Emin will give a public talk interviewed by art critic and broadcaster Matthew Collings, about her curatorship at the Royal Academy, the Academy’s relationship to the contemporary art world, and her perspective, as an artist, on hanging and curating a gallery in the Summer Exhibition. Her sex-themed works on show include a Zebra with an erection - a crankshaft that operates a model of a zebra, which in turn is copulating with a model of woman in Victorian dress, as the hackneyed image of prudery. It is pretentious and has no intrinsic merit only what the elites who buy and sell it give it. It is propaganda for Cultural Marxism: replacing the Victorian woman with, say, Cherie Blair or Diane Abbott would shock hysterical prejudice from these pseuds.
A main feature of contemporary art is paedophila and popular entertainment partakes of this It is very much part of the establishment. David Bowie promoted an androgynous image in with the concept album on the career of an extraterrestrial rock singer Ziggy Stardust which basis for his 1972 tour, which was sponsored by The Sun newspaper and the gigs filmed by BBC television. When Bill Haley first arrived in Britain in 1957 at the beginning of the Rock era he travelled in a Daily Mirror train. Bowie’s 1975 concept album “1.Outside” has a tale about the dismemberment of a teenage girl
Grayson Perry, dressed as his alter ego Claire, is known for vases depicting child abuse, told the Tate Exhibition 2003: "Well, it's about time a transvestite potter won the Turner Prize. I think the art world had more trouble coming to terms with me being a potter than my choice of frocks.” Tate director and award judge, Serota said: "I don't think the choice is a strategic choice, I think the jury felt strongly that these were the works of a very strong artist who happens to be using ceramics and drawing," he said. These institutions of art manage and regulate what used to be individual inspiration within a traditional culture. Crafts like textile design, are “excluded” from contemporary art despite having large audiences at exhibitions unless they adopt the right values. The elites motives were expressed by Charles Satchi: "A ceramic object that is intended as a subversive comment on the nature of beauty is more likely to fit the definition of contemporary art than one that is simply beautiful."
Perry’s Golden Ghosts were described by the Satchi Gallery:” Unhappy expressions on the little girls’ faces in Golden Ghosts contrast sharply with the idyllic country cottages stenciled in the background. Perry often uses found images to create a mood or a tension – the exceptionally sad image of the seated girl is that of a child affected by the Chernobyl Nuclear Power Station disaster. This evocative work hints at a familiarity with psychotherapy, made at a time when Perry was coming to terms with his own unhappy past. Perry’s transvestite alter ego, Claire, appears outlined in gold as the ghost in the title, dressed in the elaborate embroidered Coming Out Dress, made for a performance in 2000.” As we see with Emin they do not transcend their unhappiness but spread it to others.
The Chapman brothers are conceptual artists who work together. They were part of the Young British Artists movement that was promoted by Charles Saatchi who also sponsored Damien Hirst and Tracey Emin. Jake Chapman has published a number of catalogue essays and pieces of art criticism in his own right, as well as a book, Meatphysics in 2003. The brothers have also designed a label for Becks beer as part of a series of limited edition labels produced by contemporary artists.
Their Turner Prize exhibit for 2003 featured two new works Sex and Death. Sex referred their previous work Great Deeds against the Dead. The original work shows three dismembered corpses hanging from a tree, Sex shows the same scene, but in a further state of decay. Clown's noses have been added to the skulls of the corpses while snakes, rats and insects, similar to ones in joke shops, cover the piece. Death is two sex dolls, placed on top of each other, head-to-toe in the 69 sex position.
The next step is cruelty to animals and bestiality. In a declining civilisation art becomes corrupted and is a measure of the health of a civilisation. The Romans sank into a debased barbarism by slaughter in the amphitheatre. Our deterioration into barbarism is moving from images to the reality. In popular entertainment like "I'm a Celebrity Get Me out of Here", simple people, described as Celebrities, are so degraded as to be led into eating live worms and stick insects. There are several levels to this: there is cruelty to lesser animals; encouraging children to eat insects and slugs in the garden ;and the move towards ever more degradation of our people and culture.
This is a world-wide decadence: In 2007, a Costa Rican 'artist' Guillermo Vargas Habacuc caught a stray dog on the street and tied it by a short leash to the wall of an art gallery and left it to die of hunger and thirst while cultural elites watched. The Central American Biennial of Art has decided that this was art and has asked Vargas Habacuc to repeat this “installation” at the Biennial of 2008. This was sanctioned by a public body run by the country’s elites. It is not clear that they really did starve the dog and it might be just to shock or get publicity to sell something. But it shows how disgusting these people are as they promote cruelty to animals. The 'artist ' explained: "I knew the dog died on the following day from lack of food. During the inauguration, I knew that the dog was persecuted in the evening between the houses of aluminium and cardboard in a district of Managua. Five children who helped to capture the dog received 10 bonds of córdobas for their assistance. The name of the dog was Natividad, and I let him die of hunger in the sight of everyone, as if the death of a poor dog was a shameless media show in which nobody does anything but to applaud or to watch disturbed. In the place that the dog was exposed remain a metal cable and a cord. The dog was extremely ill and did not want to eat, so in natural surroundings it would have died anyway; thus they are all poor stray dogs: sooner or later they die or are killed." A couple of decades ago an artist castrated himself in an exhibition in London which was presumably funded by the Arts Council.
One would wonder how this is art! The setting does not make it art. It makes it cruelty taking place in an art gallery. The artistic subject has to be intrinsically artistic in that it it is something that produces an affect on our emotions ranging from pleasing to spiritual. It triggers something aspirational or transcendent as the subject is transformed by human imagination and skill. Art begins as wholesome and aspiring to the spiritual but in a declining civilisation becomes corrupted. The Romans sank into a debased barbarism by slaughter in the amphitheatre, our deterioration into barbarism is degeneracy and cruelty and the emotional impact created can lead to the reality.
To combat the anti-art movement a talented young artist would need not only great talent but also independence of mind and an imagination developed through respectful study of tradition and a sense of reverence for God and his creation. They would also need the courage to stand alone against the artists and elites who have a stranglehold on artistic productions and the colleges that pass the fashionable methods on. The brave one would need to study the great masterpieces and find an appropriate tradition to link to and begin reviving our civilisation.
