Memoir: Chapter 10, Is a Modern Renaissance Possible?

(Written Today.) An Art Memoir: Depth, Light, and Love

136 Self-Portrait in My Rhodes Studio, 2001, graphite, 8x11”.

In the fall of 2001, there was a joke going around Greece: "Fly United. We fly you to your office." I didn't like the joke, but I didn't take offense at it either. What happened in New York was kind of irrelevant to the Greeks, unless they had family living there.

The street in front of my house was a 14th-century footpath, with underlying stones that were dated to ancient times. It felt so untouched by time or events. The next street over, Socrates Street, was the same but much wider, as it was a popular merchant street for goldsmiths, vendors, small businesses, and little coffee/refreshment shops. These shops would have been virtually unchanged for two thousand years.

Walking on Socrates Street, I popped my head in to say hello to a friend, a local travel agent. The shop had a couple of foreign travelers looking at brochures, and he asked me with a lot of enthusiasm, “Mikali, are you now going to become a Greek citizen?” It was such a gracious compliment; he was warmly welcoming me into the Greek community. Momentarily, I felt so at peace and at home, and then completely unexpectedly, I replied, “Hell no. I'm moving to New York!”

Of course, it was hyperbole because I couldn’t just pack up and move to New York; there was no way I could afford living there while maintaining my incredible artist’s lifestyle. Still, more shocking, I hadn't expected the feeling that I would die to defend New York.

I saw the Twin Towers as an artistic ode to human benevolence and unlimited optimism, a symbol of reaching for the sky. Still more shocking on another level was my realization that their destruction was the most dramatic postmodern anti-art project ever executed.

I knew in my heart and soul that postmodernism was the most vicious and ferocious psychological weapon, designed not only to disintegrate the content of the human mind but, worse, to destroy its means of formulating meaningful values. Without irony, I both blamed America for being so weak psychologically that it promoted postmodernism—it was a guarantee to lead to self-destruction—and yet I felt that many good people simply didn’t see how postmodernism would destroy everything. Postmodernism is a Trojan horse.

Then and there, I made up my mind to use all my love for art, my works, my knowledge of perception, and art history to make the art world a better place. Renaissances do happen, why couldn’t one happen within in my lifetime? Art and aesthetics do matter and they play huge roles in history, culture, and, hopefully, to you.

Introduction To My Aesthetic Writings and Lectures

I had already written on art and had given lectures prior to 9/11, so there wasn’t a huge change in my art life, which consisted of full-time painting and musings about aesthetics. Though it did contribute to nudging my activist bent. I had always liked ideas, taking my first philosophy course as a 17-year-old. And, I learn best from putting into words whatever the process is, whether it is executing a drop shot in tennis, a drawn line curving through space, color mixing, or symbolism of a gesture. It would be natural for me to write about the full range of being an artist. My aesthetics covers: visual perception, epistemology, symbolism, techniques, and the meaning and value of content.

1.       On Metaphysical Value-Judgments (2001)

One of my earliest published pieces was On Metaphysical Value-Judgments, a critique of What Art Is by Kamhi and Torres in The Journal of Ayn Rand Studies Vol. 2, No. 2, Spring 2001. In this article, I examine the concept of metaphysical value-judgments in art as defined by Ayn Rand and critique the reinterpretation by Louis Torres and Michelle Marder Kamhi in their book What Art Is. I argue that Torres and Kamhi's perspective, which ties metaphysical value-judgments to external literary references, contrasts with Rand's view that art should be analyzed independently of external contexts. Through examples of artworks like David's Death of Socrates, Delacroix's Liberty Leading the People, and Munch's The Scream, I illustrate how visual elements alone can convey metaphysical value-judgments, supporting Rand's approach to art criticism. I emphasize that Torres and Kamhi's dismissal of Rand's broader application of metaphysical value-judgments diminishes the universal scope of her aesthetic theory.

Published in The Journal of Ayn Rand Studies, Vol. 2, No. 2, Spring 2001, edited by Chris Matthew Sciabarra.

2.      The Newberry Manifesto and Introduction, Post-Postmodern Art by Stephen R. C. Hicks (2001)

The Newberry Manifesto presents explorations by philosopher Stephen R. C. Hicks and me. Hicks delves into the reasons behind the adoption of the ugly and the offensive in twentieth- and twenty-first century art, while I offer an alternative, advocating for art that is exciting, beautiful, and meaningful. Our stances challenge the cynicism of postmodern artworks and theories, urging readers to embrace their authentic humanity and make a choice to evolve. By examining the roots of postmodernism and advocating for a future of authentic, significant art grounded in human experience, this manifesto provides a thought-provoking critique and a hopeful vision for the future of art. June 9th, 2001.

3.      Detecting Value Judgements in Art (Lecture, 2001)

In Detecting Value Judgements in Painting, I draw upon my earlier published piece, On Metaphysical Value-Judgments, which critiques Louis Torres and Michelle Marder Kamhi's reinterpretation of Ayn Rand's concept of metaphysical value-judgments in art. In this lecture, I explore how visual elements in artworks convey these metaphysical value-judgments independently of external literary references, supporting Rand's approach to art criticism. Through examples such as David's Death of Socrates, Delacroix's Liberty Leading the People, and Munch's The Scream, I illustrate how artworks serve as visual narratives, embodying fundamental questions about existence, human agency, and morality. By emphasizing the importance of analyzing art within its intrinsic context, I highlight the universal scope of Rand's aesthetic theory and argue against Torres and Kamhi's narrow interpretation.

Presented at The Objectivist Center’s Summer Seminar in Johnstown, Pennsylvania on July 2nd, 2001.

4.      Terrorism and Postmodern Art (2002)

In Terrorism and Postmodern Art, I reflect on the profound impact of the 9/11 terrorist attacks through the lens of art and culture. The loss of the World Trade Center struck me not only as the destruction of architectural marvels but also as the erasure of symbols representing civilization's highest ideals. I contrast the destructive nature of terrorism with the constructive essence of civilization, highlighting art as a representation of humanity's values and aspirations. Critiquing postmodern art as a nihilistic movement celebrating destruction and shock, I point to figures like Marcel Duchamp. I argue that postmodernism's dominance in contemporary art institutions undermines the cultural integrity of Western civilization. Drawing parallels between terrorism and postmodernism, I call for a rejection of nihilism and a reaffirmation of art that uplifts the human spirit and celebrates life. I urge readers to challenge postmodernist aesthetics, support meaningful artistic expressions, and strive to create new symbols of cultural evolution. I underscore the urgent need to safeguard civilization's meaningful art against the corrosive forces of postmodernism.

Published in The Free Radical, 2002, Lindsay Perigo, editor.

5.      The Golden Mean: The Integration of Emotion, Thought, and Sensual Perception (Lecture, 2002)

In this art talk, I share the interrelationships between emotion, thought, and perception in the artistic process. Drawing upon examples from my major paintings, pastels, and studies, I show how each element of the golden mean plays out, inviting the audience to imagine how these elements work in their lives and connect them to art

New Museum of Contemporary Greek Art in Rhodes, February 2002.

6.      Revolution: Ushering in a New Era in the Arts (Lecture, 2002)

In my discussion, I lay out my game plan for unseating postmodernism from the art world establishment and replacing it with an age of enlightenment in the arts. I emphasize the importance of pointing out contemporary artworks that advance the mediums of painting and sculpture as a crucial step forward. Additionally, I stress the necessity of creating a synergy of highbrow aesthetics, embodying moral depth, and fostering a sincere love for creating and appreciating art. Throughout, I outline the progress made, indicate the next steps, and welcome questions and suggestions.

The Free Radical's Solo Conference, New Zealand February 2002. 

7.      The Enlightened Hero and Heroine: A New Form of Heroism in the Arts (Lecture, 2002)

Heroism in art represents the furthest reaches of human potential. In art history, periods of heroism are marked by slightly generic prototypes that convey the struggles of warriors and the poses of divine beauty. It is rare to find in history a self-aware heroic being. Radically, some of today's artists are creating new depths and insights into the meaning of heroism. Using examples of these artists and contrasting them with some historic examples, I will show you how they are advancing the heroic theme through depictions of individuality, self-awareness, and the drive towards enlightened fulfillment.

The Objectivist Center Summer Conference at U.C.L.A., California, July 2002.

8.      Pandora’s Box Part 1

In this article, I delve into the heart of postmodern art, likening its impact to the fabled Pandora's Box. Like the myth, the consequences of postmodernism are dire, spreading misery and despair throughout the realm of art. I confront the unsettling reality of postmodernism's influence on contemporary arts, showcasing examples like Rauschenberg's controversial Erased De Kooning and Christo's monumental yet ephemeral Umbrellas project. Also, I examine the disturbing trend of self-debasement and violence in works by artists like McCarthy, highlighting the glorification of shock and destruction within the postmodern art community. Through a critical lens, I unravel the paradoxical nature of postmodern standards, drawing eerie parallels to the events of September 11th. As I peel back the layers of this cultural phenomenon, I aim to shed light on its corrosive effects and explore the deeper motives driving its proponents.

Published in The Free Radical #52, 2002, Lindsay Perigo, editor.

9.      Pandora’s Box Part 2

In this article, I draw a stark comparison between postmodernism in art and Pandora’s Box, suggesting that the opening of this metaphorical box by Pandora led to the demise of universal artistic values such as perception and knowledge. I explore the special role of art in our lives and highlight how postmodernism, with its emphasis on shock and subversion over skill and passion, has damaged this role. Through personal anecdotes from teaching and critiques of specific postmodern works, I illustrate the disheartening impact on young, talented artists who are often dismissed or criticized for their dedication to representational  techniques. I argue that postmodernism’s influence extends beyond the art itself, affecting the guardians of art—museum directors—who, by promoting anti-art, inadvertently silence and marginalize representational artists. My goal is to shed light on the nihilism of postmodernism and advocate for a revival of value-oriented, representational art.

Published in The Free Radical #53, 2002, Lindsay Perigo, editor.

10.   Pandora’s Box Part 3

In this article, I critique Kant's concept of the sublime, arguing that its association with formlessness and shock value has led to the nihilistic aesthetic foundation of postmodern art. I contrast this with sublime representational art, which requires skill and aims to inspire and elevate the human spirit, using examples like the Venus de Milo and Feldman’s sculptures. I assert that true sublimity in art integrates human values and meaningful emotional experiences, and I call for an aesthetic that fosters a flourishing existence rather than one grounded in negativity and meaninglessness.

Published in The Free Radical #54, 2002, Lindsay Perigo, editor.

11.   Transparency: A Key to Spatial Depth in Painting (Lecture, 2002)

In this lecture, I discuss how transparency and contrast on a two-dimensional surface can create spatial depth in painting. Using examples of how artists from 35,000 years ago to the present have achieved spatial effects, I focus on how transparency places forms in depth, moving them away from the viewer, while contrast raises them toward the viewer. Examples like the Chauvet Cave horses, Monet's The Thames at Westminster, Rembrandt's Hendrickje Bathing in a River, and Van Gogh's Cafe Terrace on the Place du Forum demonstrate how varying lightness and darkness can manipulate spatial perception, as well as complementary colors. This approach to understanding spatial depth aims to highlight the techniques artists use to create dynamic and engaging artworks.

Having the Courage of Your Perceptions, an official satellite event to the ECVP Conference, European Conference on Visual Perception, Glasgow, Scotland, August 2002.

Colorful Characters

Ivan Massow

Early in 2002, I flew from Rhodes to London to for a particularly interesting meeting with Ivan Massow and his assistant. Ivan was the chairman of the ICA (Institute of Contemporary Arts), which was well known for promoting trite postmodern art like Damien Hirst’s 1991 exhibition "International Affairs," “… his first solo exhibition in a public gallery, featuring glass cases containing items such as a desk, cigarette packets, and an ashtray.” As the chairman Ivan wanted to change the direction of contemporary art, or at least nudge towards meaningful art. "I discover there is still something that has the power to shock. I have a C-word all of my own that no one would dare use, not even on Radio 4. And the pistol-waving captains of the new avant-garde have come to use it. Although they 'get' conceptual art, and are passionate about art, my words have struck a resonant chord in articulating something they've never dared say before. They want substance, they want elevation, they want... 'craft.'"

Massow was the only person that I was aware of in the established contemporary art world who was calling out postmodern bullshit. We had a powwow over dinner, and I did my best to lay out the aesthetic foundations of Enlightenment art versus postmodern art. It was a fun meeting, and Ivan grasped the concepts very easily, which was reflected in his following interviews and articles. Unfortunately, his stance also got him canned as the chairman.

Little did I know at the time that the postmodern art movement was not simply a faddish, organic shift in social values. Rather, the whole might of the CIA was actively promoting it through covert funding and embedded agents in media outlets and museums. The whole thing was a massive PsyOp—a psychological operation to disenfranchise the human spirit. A stupid and confused public is no threat to fascistic manipulations.

Had I known, I don’t think I would have done anything differently, but I definitely would have had a clearer view of the cultural battleground. My view at the time was that it was a battle of ideas, talent, artistic integrity, and philanthropy, and not a money laundering con game of covert organizations and egos with the self-esteem of peas.

Brett Holverstott

I began to get some notoriety online. My article, Terrorism and Postmodern Art, was one of the top-searched aesthetic articles for some weeks. I did a search of my name, and one very surprising result was a website devoted to my art. Shocking, really. It was run by a young man named Brett Holverstott, a college student who enjoyed cataloging my work. It was out of the blue; we had no mutual acquaintances. But I sent him an email to say hello, and we started chatting about stuff. I told him I was organizing a nonprofit organization to advance art and that I was going to have a conference in New York. But as of yet, I didn't have the nonprofit status, which was crucial because any money donated could go directly to running the conference without any tax problems. He volunteered to help me, and for that summer, he arranged to come to Greece. He could stay in the guest bedroom, have his privacy, and Brett organized the whole thing—from the nonprofit organization to organizing the conference at the Pierre Hotel in New York, quite a feat.

Brett has continued to have an extraordinary career: architect, figurative art gallery owner, writer, and dad. It’s really wonderful to be good friends with him all this time.

Jan Koenderink and Andrea van Doorn

When I gave my talk at the Vision Conference in Glasgow, Scotland, discussing transparency and depth in painting, there were about 125 people in the room. Two middle-aged people, sitting next to one another, were looking at me with so much pleasure and understanding. They made me feel incredibly comfortable. As it turns out, they were a married couple and the world’s leading experts in vision science, Jan Koenderink and Andrea van Doorn. After my talk, we went and had beers in a local pub and had a wonderful night talking about visual perception. To outsiders, that must have seemed really nerdy, but I had the time of my life. The three of us had a feeling, I’m guessing, of intense visibility. I was terribly honored when, when as a team, they sent Jan to speak at my conference in New York the next year.

Some months later, in our correspondence, I mentioned that I wanted to do a book called The Art of Form, Light, and Space. They replied that they had been thinking of doing a book called The Science of Form, Light, and Space. It was such a special feeling, being on almost identical wavelengths. I had never felt that way in a scientific context, but it really felt like sharing love.

Lindsay Perigo

Lindsay Perigo was the editor of The Free Radical, which agreed to publish my fairly controversial pieces of art criticism. Controversial in two ways: in the sense of being highly critical of contemporary trends of postmodernism, and that, on the other side, being unapologetically romanticist, celebrating passion, beauty, and the human spirit. Like Ivan Massow mentioning the C-word: craft. I was honored that Lindsay asked me if I would speak in Auckland, New Zealand. We got a sponsor to pay for my trip.

In the audience, playing with his infant son on the floor, was New Zealand’s star tennis player Chris Lewis, who was one of the best players in the world and had a stunning run at Wimbledon, getting to the finals before losing to John McEnroe in 1983. It’s really nice that Chris and I are still keeping up-to-date with each other on Facebook.

Lindsay Perigo was a well-known television and radio personality in New Zealand, often interviewing heads of state. He was also a founding member and the first leader of Libertarianz, a libertarian political party, and editor of The Free Radical. The website SOLO Passion was quite successful in outreach for several years.

I was also honored that Lindsay Perigo flew to New York to attend my foundation’s conference the following year.

Peter Cresswell

I got to meet architect and political activist Peter Cresswell. Peter designs really wonderful homes in a modern, craftsman-like style, a cross between Neutra and Frank Lloyd Wright. Elegantly natural, open, and inviting, interwoven with nature and the views. It would be a dream come true to have a studio designed by him. Peter, for a short time, was also the head of the Libertarianz Party. And I am glad we have become life-long friends.

Anna Moody

Though I will discuss the beautiful Anna Moody much more in the next chapter, she was an extraordinary ally. English by birth, she was living in Rhodes, running an advertising marketing firm. She made sure that I had well-prepared physical presentations in the form of a catalog, among other written materials. She also flew to New York to support my conference.

Hindsight, Critical Mass, and The Overton Window

It is sadly fascinating that freedom-loving and pro-Enlightenment aesthetic activists often gain grassroots support but then run into the problem of reaching critical mass. I don't think any of us truly grasp the extent of power wielded by the industrial-military-covert-culture complex. They not only pull the strings of government but also monitor apparently insignificant intellectual and aesthetic journals. Indeed, they effectively control the Overton window.

In contemplating the potential for an Enlightenment Renaissance, it's important to acknowledge the historical influence of the industrial-military-covert-culture complex, perfectly exemplified by David Rockefeller, in shaping cultural movements like postmodernism. Intelligence agencies like the CIA have strategically propelled specific artistic trends, such as abstract expressionism epitomized by figures like Jackson Pollock, to further political agendas and shape cultural narratives. This accentuates their power to shape culture in a negative way, taking gold and turning it into lead.

For the moment, it seems that an enlightenment movement of love, transparency, authenticity, and fulfillment is not compatible with clandestine, unethical, and greedy ends. For a modern Renaissance to come into being would require an alchemy of turning the industrial-military-covert-culture complex into a Shining Civilization on the Hill.

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Look for it in the Fall of 2024.