Tag Archives: modern art

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A Tale of Two Victims

Emma Sulkowicz

Emma Sulkowicz

2,287 words

In the month of August the American press turned its spotlight on the suffering of two women. The attention they were given did not correspond to the depth of tragedy of each but rather to the priorities of the parasites occupying the positions of power.

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Daniel Forrest’s Suprahumanism

suprahumanism-cover-with-margins4,072 words

Daniel S. Forrest
Suprahumanism: European Man and the Regeneration of History
London: Arktos, 2014

Given my interests in topics covered in my Nietzsche’s Coming God book review, as well as my Overman High Culture essay, I thought it useful to take a look at Daniel Forrest’s new book, Suprahumanism.

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“Everything is Still Possible”

Fortunato Depero, Skyscrapers and Tunnels (Gratticieli e tunnel), 1930

Fortunato Depero, Skyscrapers and Tunnels (Gratticieli e tunnel), 1930

2,770 words

Editor’s Note:

This text continues the transcript by V. S. of Jonathan Bowden’s interview at the Union Jack Club in London on Saturday, November 21, 2009, after his lecture/performance on Punch and Judy. The title is editorial. 

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“Up Yours”: The War on Art Joins the War on Christmas

Paul McCarthy's Tree, 2014

Paul McCarthy’s Tree, 2014

576 words

In 2012, I was walking my dog through San Francisco’s Golden Gate Park, and I came across an art and craft show in the sunken plaza between the Academy of Sciences and the new De Young Museum (which looks like a rusted aircraft carrier scuttled in the park).

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“Vaseline at the Guggenheim”
& Other Poems on Modern Art

the-cremaster-cycle1

Slippery performance artist Matthew Barney

578 words

Vaseline at the Guggenheim

On reading “Oleo Olio” from
THE NEW CRITERION,
Vol. No. 7, March 2003

Oh, where’s the likes of Oscar Wilde
To denigrate that evil child
Who climbs about? He doesn’t spare us
When greasing up his open areas.

Of all things I might choose to see
It’s not his anus — it’s not he!
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“An Update” & “A Nightmare”

250 words

steampunk-lamps-5 (1)An Update
Inspired by W. H. Auden’s “Doggerel by a Senior Citizen”

Our lives are electronic now,
Obsequiously we scrape and bow
To every gimmick passing by
And never stop to question why.

What craze is this to get a nook
That does not look like any book?
Nor does it angle as it might
Atop the stair, beneath a light.  Read more …

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On the Sublime & the Numinous

Caspar_David_Friedrich_0714,193 words

The words “sublime” and “numinous” have shifted in meaning somewhat over recent years. The word “sublime,” I presume, would now generally be interpreted to mean something of particularly great beauty, or an action particularly well executed. It would not be limited to a narrow usage but could be applied to any thing or action of particular excellence, perhaps with a slightly pretentious connotation of elegance.  Read more …

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Stewart Home:
Communism, Nihilism, Neoism, & Decadence

11,050 words

Editor’s Note:

b-stewart-home-jpgThe following text is a transcript by V.S. of one of Jonathan Bowden’s most entertaining lectures, which was delivered to the 25th New Right meeting in London on February 13, 2010. Although Stewart Home is the principal subject, Bowden romps through a wide field of politically correct theories, ultra-Left sects, and decadent forms of modern art.

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Elitism, British Modernism, & Wyndham Lewis

Wyndham_Lewis_photo_by_George_Charles_Beresford,_WWI9,099 words

Editor’s Note:

The following text is a transcript by V. S. of Jonathan Bowden’s lecture on Wyndham Lewis which was delivered to the 8th New Right meeting in London on May 28, 2006. There are a number of passages marked unintelligible. These passages appear in the recording at 4:00, 34:21, 40:12, 41:52, and 46:28. (You can listen to the lecture using the player below or by downloading the lecture.) If you can understand these words, please post a comment below.

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God Has Become Cancer:
Damien Hirst, Religion, & Death

Damien Hirst

Jonathan Yeo, Portrait of Damien Hirst, 2013

3,374 words

For the radical Right the issue of contemporary art is something of a non-starter. The past century or so of developments in the fine arts have been dominated by American (and often Jewish) theoreticians who have fashioned a sensibility wherein anything that smacks of European tradition is automatically verboten, unless it can be refracted through a distorting lens of ironic detachment or disinheritance.  Read more …

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