Crime what crime  statistical genocide/ ethnic cleansing Jews asian not european Jews right wing elites ; 2 billion people lost in this giant invisible war already.


so legitimate conflict is between rich 1% armies and lower class revolt against their tax/price impositions from above installing pop economy and sabbath economics combined/ jubilee economics for all Hebrews 220 million plus 20 million 'Jews'


Allied with establishment; create 'a revolution' before the real revolution from excessive government taxes ie Peasants revolt short history of revolutions


Who commits this crime


My University Massey in Wellington NZ had 403,500 or so in the art section for 'feminism'; just 16 in total, for masculist, spread over three campuses and libraries: mostly articles about Warren Farrell books... so you'll have to know what you are up against.


Totally Unnecessary Political Correctness has its home cesspit within fine arts. We must eliminate it there.


Phillip O’Sullivan March of Men Oil Pastel on Archival Card


Notes Phillip O’Sullivan NZ first post-contemporary pro-masculist artist. Age?


Lifelong artist 30 one person exhibitions: previous reputation as part of Vuletic stable of artists. main presentational form is cell phone responsive website 41 %  at osullivanartstudio


Once was told lovingly ‘it is as if you Phillip were carrying a sign on your back, please kick me’ in NZ we think we stand for the underdog: let the underdog speak and he will say ‘if I am a victim, please tell me what I am a victim of, then you can kick me’ Living in this Kafkaesque aotearoa swollen with its own delusions (Fixed the earthquake yet? I taunt) we actually put the boot in when men are drowning.


I was 50 years old when I finally accepted that I had been abused by an older female when a very young infant: obliged myself to ‘mourn’ for two years relieved by the idea that I was free of the impending boot of doom, had an explanation for the failures of my life and saw the first period of success in my career. Went back to University, then finished a partially completed degree and graduated 2010. The hardest part was the humiliation of returning to art school where initially I was not expecting any more changes, but to continue in my established minimalist style. Yet a fellow student came out with personal revelations that moved me. There had always been what I called ‘aberrant’ artworks in my body of work: I work ferociously in binges where I can do up to forty saleable artwork drawings or colour studies in a day.  Aberrant or ‘off’ types appear frequently among them. So there were many of these in my backlist. I never knew what to do with them. Since I now accepted I ‘had a life’ inglorious though it was the way was clear to gather them together and possibly come out abused and masculist at the same time. This I finally did in late 2013 in the last month of the semester: I was able to present on the walls of the third year studio  ‘Boy, Molested by Older Female 1954- 1986’ Since the relationship picked up again later when unbeknownst, as we had spent the intervening years in other cities, met her again. Over the entire time feminism raged in the background: plenty of support for any little slip incurred; none for the men/boys/children victims who happened to be male. Naturally all this fuels the consciousness behind the art I do now.


‘Boy, Molested by Older Female, 1954 - 1986’ Phillip O’Sullivan




Tape and acrylic drawings ensemble on wall




Success (and much else eluded O’Sullivan) spent many decades wondering why.


Under questioning the influence of critical theory for several years here at Massey and doing double time fashioning answering essays and videos and websites (but not submitting them) in other words I wrote the regular essays under sufferance- not agreeing with any of it- and for my own sanity had to reply to satisfy myself on the issue of the intellectual bigotry against men deployed: in a sense, if you can call it that, I enjoyed my intellectual agony as I finally saw where all those decades of political correctness came from- it had lodged its hideaway home in my beloved art… I was ‘shocked and disgusted’, no wonder I did not get it: I just looked at the pictures in art articles, being a minimalist I read Ayer, Strawson, G.E Moore, Russel Wittgenstein and other philosophers appropriate to 1970s monochromatic minimalist yet in their own texts outside of the art dialogue: we did these works in Auckland just months after we read about similar in New York, well before Max Gimblett and Steven Bambury; in some cases up to ten years before- not to be pipped at the post but post-at-the-pip. We thought Bambury was just ‘the boy’ but having fallen out with Petar Vuletic and opening our own gallery. 


 He concentrated on boosting Bambury during the eighties and chose to ignore the O’Sullivans from ten years prior: In some cases very similar and alike, a bare one line mention in Bamburys book hardly rates as acknowledgement for his visual debts.  To hear him ‘explain’ his work to Wystan Curnow in Derrida like terms is grotesque and dishonest. New Zealand is like that: reductive artworks like mine of that period require a reductive philosophy like occams razor, idiots like Bambury would not know how.  Unlike the real artist who’s work grew out the appropriate reading as listed above - a false artist always follows the fashions of her time.  Antipodean thought is badly out of whack. We work with copies of copies and mismatch our philosophies with our practice hoping no one notices the differences. Sadly few seldom do notice. Our critics are morons who cannot believe that intellectual life and philosophy is about something that is actually the real  hard work thinking. Just citing enormous lists of names and skirting over, around, under and through intellectual sounding tropes, concepts and shibboleths does not cut it at all to a real thinker like Chomsky, Searle, Ivan Ilyich and others.  It matters.




A late example of this minimalist type is below: works like it feature on my namesake New Zealand domain website


This is a Jo Baer influenced piece using masking tape, electric tapes and cellotape directly on the wall. 2012 Phillip


O’Sullivan Second Year Studio.


Having invested so many years and much poetry, mysticism and reading; though very little prose writing – into minimalism I think it likely I will also continue this approach. There is no real need in a post-contemporary pro-masculist art world not to.






Words aplenty I had but mostly expressed in unpublished poetry and philosophical notations.  My reading was not of art-talk so I approach it purely as one who first reads it late in life- though after a lifetime of non-fictive reading; I can spot fraudulent intellectual behaviour a mile off.


So finally ‘coming out’ masculist as an artist and would-be-theorist late in 2013, some precursors in my artwork examples of which are shown in this text introduction, does not mean I will be locked into retelling my own personal trauma- admittedly a powerful driver of the work- but will use its impetus as initiator for far wider masculist issues, ideology, theory and advancing its development by polemic. Men need someone to claim ground back and for them, from that lost to us all by feminist encroachments.

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