Remodernism

Remodernism is an artistic and philosophical movement established at the turn of the twenty-first century as a reaction to what its founders perceived as the failures and spiritual emptiness of postmodernism. Emerging formally in London in March 2001, with its conceptual origins rooted in the Stuckist art movement founded by Billy Childish and Charles Thomson, it advocates a revival of early modernist principles, particularly vision, authenticity and spiritual engagement in artistic practice. The movement positions itself not as a nostalgic return to the past but as a renewed and forward-looking continuation of modernist aspirations reframed for contemporary culture.

Background and Intellectual Context

Remodernism arose from a growing dissatisfaction among artists and critics with the cultural dominance of postmodernism during the late twentieth century. Postmodernist art was often characterised by conceptual irony, relativism and an emphasis on theoretical frameworks over emotional expression. Advocates of remodernism argued that this tendency had led to cynicism and a perceived loss of meaning within the art world.
The Stuckists, who first formulated the remodernist position, were already engaged in critiquing conceptual art and championing a return to painting and direct self-expression. Their stance built on the belief that modernism’s original spiritual and visionary aims had been abandoned before reaching full realisation. They viewed remodernism not as a rejection of modernism but as a reclamation and redirection of its core values.
A significant influence on the movement is the notion of spirituality in art, interpreted broadly as humanity’s effort to understand itself through meaningful symbolism and expressive integrity. This form of spirituality is emphasised as distinct from organised religion, instead representing an inner search for clarity, truth and human connection.

The 2000 Remodernism Manifesto

The remodernist outlook was codified in the manifesto published on 1 March 2000 by Billy Childish and Charles Thomson. Subtitled towards a new spirituality in art, the manifesto proposed a bold call to restore sincerity and depth to the artistic sphere. It asserted that modernism had become distorted and misdirected, with its genuine potential unrealised. The remedy, according to the document, was a renewed commitment to vision, courage and personal authenticity within artistic creation.
The manifesto consisted of a concise introduction followed by fourteen principal statements. These addressed themes such as:

• individuality and bravery in creative practice
• humanity and inclusiveness as guiding principles
• communication and emotional intelligibility in art
• opposition to nihilism and to excessive reliance on scientific materialism
• rejection of destructive iconoclasm for its own sake
• affirmation of spiritual meaning as an essential aspect of artistic value

One notable statement clarified that spiritual art should not be conflated with religious doctrine. Instead, spirituality was framed as a universal pursuit of self-knowledge, accessed through the clarity and integrity of artistic expression. Another statement discussed the etymological origin of the word enthusiasm, linking it to the Greek en theos (“to be possessed by God”), and suggesting that creative inspiration may be understood as a form of transcendent engagement.
The manifesto concluded with a critical assessment of prevailing artistic trends, asserting that contemporary art, as upheld by institutional authorities, had deviated significantly from meaningful development. It called for an urgent spiritual renaissance in art, arguing that such a transformation was inevitable and necessary.

Early Development and Public Reception (2000–2006)

Following the manifesto’s publication, remodernism began to gain visibility through exhibitions, public lectures and critical responses. In March 2000, the Stuckists held The Resignation of Sir Nicholas Serota, declaring themselves the first remodernist group. Media coverage soon followed, with newspapers such as The Observer describing remodernism as promoting emotional and spiritual integrity in art through figurative painting.
Public talks on remodernism were organised throughout 2000 and beyond, including events at the Salon des Arts in Kensington and activities by Students for Stuckism. An Institute of Remodernism was also founded, indicating a growing organisational structure for the movement. The approach occasionally extended into political commentary, with Charles Thomson standing in the 2001 UK general election to draw attention to ideas associated with Stuckism and remodernism.
Remodernism also attracted international interest. In 2002, the exhibition ReMo: ReModernism in Albuquerque provided a platform for academic engagement, with University of California, Berkeley professor Kevin Radley emphasising that the movement sought not regression but a forward-driving cultural renewal. Other institutions, such as the Stedelijk Museum and the University of Amsterdam, hosted dialogues in 2006 exploring remodernism’s implications for contemporary artistic practice, particularly in relation to the revival of painting and autonomy in art.

Global Spread and Associated Movements

As remodernism expanded, it inspired new artistic groups across different countries. In 2003, the Stuckist Photographers formed with an endorsement of remodernist principles, indicating an extension of the movement beyond painting into other visual media. The Defastenists, a creative collective in Ireland, declared themselves remodernists in 2004, further illustrating the movement’s adaptability to varied artistic contexts.
In the United States, the Deatrick Gallery in Louisville, Kentucky became associated with remodernist ideas. Filmmakers such as Jesse Richards and Harris Smith initiated remodernist film and photography, defined by an emphasis on emotional meaning and rooted in influences from new wave, no wave, expressionist and transcendental cinema. This development signalled remodernism’s evolution into a multi-disciplinary ethos rather than a strictly painterly movement.
Artists interviewed during this period often described remodernism as a return to the beginning of modernism in order to pursue an unexplored alternative artistic direction. The intention was not to imitate the past but to restore foundational principles so that new forms and meanings could emerge. Critics and commentators noted that such a stance, although sometimes labelled reactionary, was in fact radical in its insistence on authenticity and meaningful artistic engagement.
Remodernism also resonated with cultural commentators working outside the visual arts. Musicians such as Alex Kapranos endorsed the movement’s emphasis on the idea that artists retain a soulful dimension, aligning with broader calls for sincerity in creative work during the early 2000s.

Critical Interpretations and Later Developments

By the mid-2000s, remodernism had become a recurring reference point in contemporary art debates. Exhibitions in venues such as CBGB’s 313 Gallery in New York linked the movement to past counter-cultural revolutions, notably the emergence of punk music in the 1970s. Commentators drew parallels between the two phenomena, suggesting that both sought to reclaim authenticity and challenge cultural complacency.
Art critics continued to apply the concept throughout the decade. In 2008, the London Evening Standard used the term to describe certain Turner Prize nominees, arguing that their work represented a revival of early twentieth-century formalist aesthetics. This interpretation placed remodernism within a broader reconsideration of traditional artistic values, including modesty, emotional clarity and genuine creative generosity.
Individual artists responded to the movement in nuanced ways. Some maintained distance from the Stuckists while nonetheless supporting remodernism’s philosophical foundations. The movement thus remained diverse and loosely defined, unified more by its principles than by adherence to any single artistic style or organisational structure.

Significance and Legacy

Remodernism occupies a distinct position within the landscape of contemporary art theory. Its significance lies in its deliberate effort to confront the perceived intellectual dead-ends of late postmodernism and to restore an emphasis on authenticity, emotion and spiritual meaning in artistic production. The movement’s call for a new cultural paradigm encouraged a re-evaluation of painting and other traditional media at a time when multimedia and conceptual approaches dominated institutional discourse.
While the movement has been subject to debate and criticism, its ideas have influenced a range of artistic practices, from figurative painting to independent filmmaking. It continues to serve as a reference point for artists and scholars seeking alternatives to conceptual detachment and advocating a renewed engagement with humanistic and expressive dimensions of art.