Jesse Beau Richards (born July 17, 1975) is a painter, filmmaker and photographer from New Haven, Connecticut and was affiliated with the international movement Stuckism.

[1] He directed plays including Hamlet and Look Back In Anger for the New Haven Theatre Company, and made short romance and punk films.

[1] Richards is affiliated with the Stuckist art movement in 2001 and founded a gallery[6] as the first Stuckism center in the United States in 2002, helping to organize shows.

"[1] In 2003, an anti-war "Clown Trial of President Bush" took place outside the New Haven Federal Courthouse,[6] in order to "highlight the fact that the Iraq War does not have the support of the United Nations, thus violating a binding contract with the UN".

[7] It was staged by local Stuckist artists dressed in clown costume, led by Richards with Nicholas Watson and Tony Juliano.

[5] In late August 2009, an International Alliance of Remodernist Filmmakers was started by Richards in order to promote discussion and collaboration amongst those following the manifesto.

The filmmakers include Jesse Richards, Harris Smith, Christopher Michael Beer, Dmitri Trakovsky, Kate Shults, Peter Rinaldi and Khurrem Gold of America, Roy Rezaali of the Netherlands, Rouzbeh Rashidi of Iran and Dean Kavanagh of Ireland.

[23] In October 2009, with the intention "to further develop and explain Remodernist film concepts", a series of articles by Richards, Peter Rinaldi and Roy Rezaali were published in the magazine MungBeing[24] In Richards' two essays in the magazine, he explains the development of cinema in terms of modernism, postmodernism and remodernism, and discusses remodernist film craft as involving filmmakers "teaching themselves to paint pictures, to try acting in their own movies and those of others (especially if they are shy), to be nude models for other artists, to meditate, worship if they are religious, to do things that affect their levels of consciousness, try things that make them nervous or uncomfortable, to go out and be involved in life, to find adventure, to jump in the ocean.

[25] He also relaxes the criticisms made in the manifesto about digital video, claiming that can "have a place in Remodernist cinema", but with a "new language" and not in the way it is used now, which he says is to "mimic film".

I believe that the most effective way to really make subjective and authentic work involves an "addressing of the shadow" (as Billy Childish and Charles Thomson have described it).

It might mean that you are really obsessed with pubic hair, or maybe you are really embarrassed by a physical or mental disability that you try to hide, or like Billy Childish, you were abused as a child.

The cinematic exploration of spirituality and transgression together – pubic hair, blood and shit and love and the green grass and the dying cherry blossoms, falling snow, passing trains – every single fucking beautiful piece of life – that is what my conception of Remodernist film is.

[25]The articles also broaden the aim of the movement, explaining the common bond among Remodernist filmmakers being a search for truth, knowledge, authenticity and spirituality in their work, but having different approaches on achieving that goal.