What is the Churn of the Unmade? Metamodernist art by JJFBbennett It isn’t just paint; it’s the heavy, exhausting gravity of pure affectation. I applied these deep purples and stark whites with a thick palette knife, wanting you to feel the weight of the medium itself—the messy, chaotic over-saturation of our digital lives, the constant noise. It’s dense, tactile, and completely overwhelming. But The chaos is interrupted by a line of perfect, unyielding geometry. A clear glass ring slicing straight through the noise. This physical ring stands as the initial boundary of awareness. On one side, the suffocating density of raw human expression and digital noise; on the other, a clean, projected window into an idealised, quiet simplicity. Where does the noise end, and where does our awareness truly begin? The glass ring doesn't just divide the canvas; it bridges two entirely different eras of the soul. Look to the left. You see that heavy, anxious abstract expr...
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The Art of the Damned
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The Art of the Damned
The current gallery system functions as a modern dam built right at the headwaters of artistic creation.
The headwaters are the raw, bubbling springs high in the mountains—wild, uncontainable, fed by countless small tributaries of individual vision, experimentation, failure, intuition, and obsession. This is where most serious art actually begins: in studios, bedrooms, sketchbooks, late-night arguments, personal crises, and private obsessions, long before any curator or collector ever hears a name.
Once a handful of major galleries, institutions, auction houses, and their allied gatekeepers (collectors, critics, fair directors, residency programs) gain decisive influence over those headwaters—deciding which artists get early solo shows, which receive press, which enter the "right" conversations, which are anointed with blue-chip representation—they effectively place the dam.
From that point forward:
The flow of visibility, legitimacy, money, and audience is regulated.
Only certain streams are allowed through the spillways (the "approved" aesthetics, narratives, identities, scales, materials, politics, or career trajectories).
Everything else backs up behind the concrete: talented work starves for oxygen downstream, or is forced into flash floods of social media desperation, alternative spaces, or outright obscurity.
The reservoir above the dam becomes a carefully managed lake—still, stratified, expensive to access, stocked with fish that serve the dam owners' interests. The water (attention, cultural capital, sales) is released in controlled, predictable releases: biennials, fair booths, museum acquisitions, and magazine covers.
Downstream communities—viewers, smaller cities, regional scenes, emerging collectors, the broader public—receive only what has already been filtered, de-risked, and priced. The wild, nutrient-rich silt of unmediated experimentation rarely reaches them anymore.
Remove the dam (or, more realistically, build meaningful bypass channels, fish ladders, seasonal floods of support for independent flows), and the river returns to something closer to its original character: braided, messy, surprising, capable of nourishing many more banks. But as long as the primary infrastructure sits at the source and not further down, the people who control the headworks control the entire valley's fate—no matter how much talk there is of "decentralisation" or "new ecosystems."
Whoever holds the narrowest, highest choke point in the system holds disproportionate power over everything that follows.
This artwork is protected by U.S. and International copyright laws. Distribution and/or modification of the artwork without the written permission of the sponsor is prohibited.
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