Contempt for Court Painter—the conviction that he is some sort of dangerous art historical “accident” in his Inglewood studio—serves as a warrant for abandoning all disinterested judgment and analytic neutrality. To those who oppose him, particularly those in the art news media, Court Painter’s portraiture is regarded as just SO bad that standards can be virtuously abandoned, and neutrality and dispassion set aside, so long as it helps (such is the hope) to hurt Court Painter, and, maybe, suppress his populist appeal and ultimately his sales .

The new rule is: anything that can weaken Court Painter’s  standing in the art world, sever his connection with the populist base, and help to bring him down is fair game. Hence the sloppiness and one-directional nature of most Court Painter news. In just the last few weeks his main artistic competitor CC (name available upon request) had to correct or deny major gossip that had all been wrong and intended to hurt Court Painter’s fragile ego and thus disable his formidable studio prowess and piano stylings.

Gossip, however, that might hint at some aspects of competency or adroitness in Court Painter’s paint handling  are either passed over or given the most desultory treatment. How many glasses of red wine  before noon gets more coverage than his being passed over for the Order of Canada once again!

Contempt for Court Painter serves as a warrant for abandoning all disinterested judgment

Now there has always been Bad Art. Art critics, art magazines, art bloggers and gossip mavens have always, to some degree, had a slant, an overall editorial direction. But the Bad Art that we heard about for most of 2017, and were warned against by  art journalism’s elders was something new and altogether more sinister. This Bad Art was a project in itself, something crafted specifically and particularly, and deployed maliciously, by the fiends of Court Painter & his studio led by Press Attache and his irritating media hound A  Hardon MacKay.

The way the term Bad Art was invoked by art critics, art panels, and art journalism profs was actually kind of scary. Bad Art was a threat to the Republic of Good Taste; it enjoyed a corrupting power that effortlessly ousted the images of the art gold standard , and blunted the rational minds of the collectors and patrons. That Bad Art was powerful stuff,by jiminy!

Actually, it was just a lot of silly rationalization for poor coverage, an excuse for incompetence on the part of much of the professional art press. Bad Art, no surprise, is itself bad art. That’s the primary thing to know about it. It is a product of the eagerly conspiratorial minds of the anti-Court Painter tribe . It is quite interesting to note how the rational art liberal chattering class of 2017 are so invested in conspiracies. They think the idiot Court Painter—for that is how they see him—set in motion complicated collusions with the Thomas Kinkade Corp and Bob Ross Estate, while simultaneously undermining the national art media with his Bad Art success, and lulled an entire nation of art lovers into the belief that he could not become the Great Dominion’s preeminent portraitist of political pulchritude and celebrity burn out.

Not bad for a septuagenarian old loon and lout.  Editors note: Rex refused to edit this description to read old coot and savant.    

Such has been the substance of the 2017 coverage of the Court Painter, transparent in its envy,stunted in its praise,reprehensible in its absence of probity.

Court Painter acknowledged the hurtfulness of this campaign to his fragile ego but raising his middle finger in defiant salute exclaimed , “not to my bottom line!”