Remodernism is an alternative to the established High Art hegemony, known as Postmodernism, and its institutionalized cynicism and ironic detachment.
As an Art Movement, it is somewhat unusual, insofar as it is defined by the artists’ intentions, rather than by any formal qualities of the artwork.
Briefly, Remodernists do not think that Modern Art is rubbish, and we do believe that one of the legitimate goals of an artist can be the sincere expression of an authentic personal spirituality.
Spirituality does not equal religion. Religion is about beliefs and following rules. Spirituality is about the search for truth.Remodernism is an Art movement that can be especially attractive for those who are aware of what Postmodernism actually is.
Postmodernism is the mainstream of contemporary art.
I would even go so far as to say that being a Postmodernist is absolutely mandatory for anyone hoping to be taken seriously by the mavens of High Art today (publishers of art magazines, published art critics, museum curators, administrators of art endowments, prominent gallery owners, "important" art collectors, and other chic billionaires). Postmodernism is the party line. It is, essentially, the only product that the High Art establishment is selling.
Postmodernism is based on goofy ideas by overly dramatic writers who talk about how we're at the end of history, etc.
I'm not swallowing it. I don't think the virtual is more real than the real, and I do think one of the goals of an artist can still legitimately be the communication of a uniquely personal vision.
Postmodernism is not a movement created by artists; it's a vocabulary dictated by the system of insiders for artists to adhere to.
"there is little reason not to believe that all value-orientations are equally well-founded. Therefore, increasingly, choice becomes meaningless... we must now come to terms with the second revolution, ...of postmodernity, which is the immense process of the destruction of meaning equal to the earlier destruction of appearances."
- David Ashley, Theories of Modernity and Postmodernity,1990
Why Po-Mo is Such a Huge $ucce$$:
There are more signs than referents in the current world, and the signs have few if any meaningful relationships with the things they once represented.
The virtual is more real to us than reality. These simulacra are so dominant that it is no longer possible to know what's real.
Thus, expression through art is meaningless and pointless. The art mavens understand this and accordingly champion artists who tickle their sense of irony.
To be radical, art has to defend itself against it's own commodification by becoming an ever more attenuated caricature of itself as a commodity.
"Through reinforcing the formal and fetishized abstraction of merchandise, becoming more mercantile than merchandise itself... it becomes more object than the object; this gives it a fatal quality."
- Jean Baudrillard, "America", 1998
Result: the chic billionaires get to run the art world like a global money laundry, and they get to feel all smug and radical while doing it.
According to the doctrine of Postmodernism, we as artists are not only required to make art that is meaningless, we are even forbidden to believe that art can be meaningful.
Further we have a situation today where beauty in art has been, by consensus of all the mavens who really matter, completely devalued. If you want to be considered an "important" painter, you'd better by God steer clear of anything that smacks of beauty.
The central theme in my painting is the search for stillness, the sort of profound and lucid calm that is the result of meditation or contemplation; another main theme is the relationship between humans, the ocean, and the atmosphere. The intent of my work is to create an ambiance where the spiritual dimension of this relationship can be experienced.
My intent is to create paintings that are both beautiful and meaningful. (Whether or not I achieve this goal is not for me to say, but I am damned in today's art world for the mere intent.)
Therefore, I am a Remodernist.