A Glimpse at the Art World According to The New York Times

Aporia Magazine has some really good material devoid of typical leftist nonsense. This article, by Bruce Gilley posted on January 4, 2024, skewers sections on art from the New York Times issue of October 22, 2023. If you ever had any doubt that the Times and the art world in general are entirely on the anti-White left, this should clear that up. As Gilley notes, “It is difficult to avoid the conclusion that the art establishment of the contemporary United States is staffed by culturally and historically ignorant, mostly-female activists who don’t really love art, even if they knew what the term meant.” Sadly, these activists, including any random males (likely gay or transgender) who have managed to become curators in this environment, are all too likely to be White.

Many writers on the arts have noted how art has gone from being political and politicized – things it has always been – to being totalitarian, which is the opposite of being political. What I found new in these pages, and perhaps this is no surprise if the totalitarian thesis holds, is that it has also become profoundly ignorant as well.

The lead story enthuses that “The Art World Expands Its Notion of What Art Is and Who Can Make It.” An 80-year old Russian-Jewish artist from Buenos Aires is having a retrospective at the Jewish Museum of New York. Her work includes dropping live chickens and lettuce onto a crowd from a helicopter and dressing up like a mattress (“That’s why mattresses are so important.”) The 30-something curator expresses a “deep frustration” that no one likes the art. “As curators we have an obligation and a commitment to bring unheard, unrecognized, or underrepresented artists into the discussion,” she explains. The museum prefers works “that focus on Black, Jewish, queer and trans experience in the United States.” It makes a point to display such works “in a German and Nazi context.” All this apparently represents the latest thinking in “the art world.” Mattresses in a Nazi context. …

Our first port is a story on the yeoman’s work being done by university galleries at Yale, Princeton, Duke and Vassar to atone for their “systemic racism.” These “historically white spaces with pasts that are entangled with slavery” are now hastening to host shows by blacks, the Times enthuses. One need not read further to know in advance that the art will be superb, the artists under-appreciated geniuses, the curators ebullient about their newfound virtue, and the didactic purposes beyond overdue. One featured artist glues Post-It notes, bits of her hair, and other items found on the floor onto Ghanaian textiles and calls it a “multiplicity of elements with which to engage.” Another sells photographs of herself nude mocking classical Western paintings (including a Last Supper where she is Christ and only Judas is white). She simultaneously complains to the Times reporter about the “dehumanization and commodification of the Black body.” The Duke exhibition is hosted by an institution “whose history is entwined with slavery…segregation, and white supremacy.” But visitors are also warned against “portraying Black people as victims.” …

Can we ever again have art for art’s sake? An opportunity arose at the Museum of Russian Art in Minneapolis when the war in Ukraine erupted. It was a rare moment when a cultural institution could bring people together to celebrate art for art’s sake. Let’s not associate the great Russian art tradition with today’s rulers. On second thought, let’s, according to the enthusiastic report on the museum’s decision to go all in for anti-Russia messaging with the headline “Taking Sides.”

The museum has taken sides by “focusing on work critical of Russia.” It features a newly-commissioned work called “Glory to Ukraine.” All the art is now being mobilized for this glorious political project centered on “oppression and resistance.” Every item in the museum has been given a “context” label. Those beautiful Russian icons of the 5th century are now identified as precursors to the seizure of Crimea. “You don’t just say ‘Oh, look at this art, how great it is’,” instructs the curator. You don’t? The Russians used to have a word for this. They called it agit-prop. It is another icon of the diminished artistic imagination evident in the Times art section. …

Section Two opens with a precis of the story so far: “Artists and Art Institutions Take On Social and Political Issues of the Day.” If our knowledge of the contemporary art world had been drawn from Section One, we might wonder what else they could possibly be doing. In this story, a Nigerian artist has “tackled colonialism, the subjugation of peoples that enabled the global slave trade and carved a callous cartography across Africa and other continents.” Another thing that “we did not learn about”, apparently, was that the global slave trade existed long before European colonialism and was ended because of that colonialism, and that the myth of “artificial borders” forced on hapless black people by devious colonialists has been demolished time and again, though its staying power is impressive.

The artist is not satisfied to scotch the colonialists for their slavery and borders. He insists they stole modernity itself from Africa. The more he looked at Picasso, the more he realized that these abstract ideas were looted from Mother Africa. The “white male artists were lionized by Western art history” while the true geniuses in Africa went unrecognized. “Throughout Black culture,” he proposes, “it’s always happened.” (The injunction back at Duke against “portraying Black people as victims” is now wearing very thin.)

The Nigerian was inspired to his latest work by “the zeitgeist since the George Floyd moment.” He apparently took seriously the assertions on NPR that blacks are now leading “the whole global conversation on culture.” The Times seems to agree. Take blacks out of modern music and what are you left with, he chortles to the reporter. “Folk music? Yodeling?” Well, Yes, we might reply. Also Stravinsky, Debussy, and Sibelius, as well as the Beatles, Johnny Cash, Bob Dylan, and Kiss. And speaking of looted art, is it time for black jazz artists who appropriated Benny Goodman and the Big Band tradition to pay up? What about black classical and opera performers who have been lionized for their looting of these Western traditions? …

Our final offering from the front page of Section Two tells us “We’re all living in Indian territory.” True enough. My flight to Portland is now over the Great Plains where many an Indian tribe once subjugated, murdered, and enslaved his fellow Indian before U.S. expansion forced a modern state upon the primitive mayhem. The artist claims Cherokee ancestry. Like so many “native” artists these days, she looks wholly European. WalkingStick, or so she is called, was raised in white American society by her white mother and did not identify as Indian until attending art school in her late 30s, according to a 1985 Times article. Another thing “we did not learn”, in this case in journalism school, was to consult the back issues of the publication we write for. In 1989, the Times noted with arresting candor: “With romanticism still the order of the day, nobody wants to be considered white and Ms. Walkingstick is fortunate, for her father is a Cherokee.” Or so she says. The label has certainly allowed her to trade in Indian art fetish. When Congress passed a law in 1990 requiring sellers of “Indian art” to prove their native bona fides, WalkingStick complained about the personal intrusion, according to a Times article of that year. I’ll reserve judgement until I see a DNA test verified by a third party.

Our weekend read now turns to a “people’s art” exhibit featuring the not-very-typical people of San Francisco. The “democratic” and “inclusionary” jury process opened new vistas of hitherto oppressed art, the curator explains. The result? A trove of “socially or politically loaded” works. The people are apparently very concerned with “immigration, Ukraine, Black Lives Matter, January 6 and election deniers, and people who are unhoused,” enthuses the curator. A life-sized wooden toy soldier of General Robert E. Lee lies on its back “to evoke the way in which racial reckonings have toppled historical figures.”

Both journalist and jurors offer grave assent to these “socially or political loaded” works. Yet another thing that “we did not learn” in college was that brutalist and didactic works were the stock-in-trade of the socialist-realist tradition in communist lands. The response of free societies at the time was to treat them as kitsch, as in Andy Warhol’s Mao series. But the arts savants in the Times are so beholden to a totalizing ideology that they can’t bring themselves to invert the meaning of this latest iteration of “people’s art” as the only possible critical response. It is not just the inability to judge good art from bad. It is the inability even to know what art is anymore.

Next up: Annie Leibovitz, at 74, has a new show of photographs in, wait for it, Bentonville, Arkansas. The regulars of the financial page will be savvy to the location. Yes, it is the Walmart fortune, in this case from the founder’s daughter who has funded the exhibition. Leibovitz swoons that it’s the best endowed and freest project she has ever worked on. No underfunded socialist-realist party diktat guiding this show. In gratitude, Leibovitz created new portraits of Milton Friedman, Adam Smith, and John Locke to celebrate the capitalist spirit that created the jobs, consumer welfare, and philanthropy of Walmart. Correction: she took a series of photos of her liberal friends, including Stacey Abrams, Rachel Maddow, and Ketanji Brown Jackson, all sporting angry faces about the social injustice of late capitalism.

Perhaps Abrams, Maddow, and Jackson were not told that it was the Walmart fortune paying for it all. Or perhaps Leibovitz did not notice the irony. Nor did the reporter. Maddow, a San Francisco lesbian, has been hammering away at Walmart for years. Capitalism, it seems, is OK as long as its fuels the anti-capitalist arts community. …

It is difficult to avoid the conclusion that the art establishment of the contemporary United States is staffed by culturally and historically ignorant, mostly-female activists [bolded for emphasis] who don’t really love art, even if they knew what the term meant. What they were not taught, what our whole civilization is not being taught, is more than just how to think about art. It is how to think at all.

15 replies
  1. Mark Engholm
    Mark Engholm says:


    To create timeless works of art, men by nature lack the strictly vaginal perspective. Here is a theme-specific exhibition piece by the eminent Jennifer Rubell (a congenial fusion of rubbish and rabble), which encourages women in particular to return to their only true social function.


    However, it is becoming increasingly common for people who want to appear to have a female gender identity to be unable to perform precisely this function, despite their best efforts, due to biological impossibility. Women are superior in every genre, let’s take music. https://www.youtube.com/watch?v=FVNLkgG3VHM&t=215s

    Women are all about vanity. Hence their selfie mania.


    Two female “artists” were hired in Switzerland to decorate the walls of a new clubhouse. But the resulting artwork, which cost 28,000 francs ($32,000), did not please the football club. https://i.ibb.co/99g0Kqy/art.jpg

  2. Pierre de Craon
    Pierre de Craon says:

    A warm welcome from the staff of the Old-timers’ Noticing Club to Bruce Gilley. If he finds himself with a few hours to spare one of these days, he might consider spending them in rummaging through the Times’s Culture Gulch from decades past. What he will discover if he does is that, in kind if not always in degree, the preference there for shallow trendiness over time-tested substance has had an almost rubrical character for as long as anyone can recall. In other words, plus ça change, plus c’est la même chose.

    The Times’s Art section has been a playground for Jews, fairies, and Jewish fairies since at least the fifties, probably earlier. By the sixties, their tradition-hating presence had become impossible to ignore in the Sunday magazine and in scattered articles in the daily rag. For another decade or so, however, the ignorant but opinionated radicals had less success in the Sunday paper’s Arts and Leisure section, the various arts editors of which were a tough old crowd of hard-nosed Beaux Arts types (a few of them even being old WASPs) who jealously held on to their turf.

    The writing was on the wall, however. A good friend of mine, now deceased, who made a minor but respectable career in representational painting and sculpture, was in art school (Pratt) in the early sixties. The faculty was so utterly doctrinaire in its Modernism that, as he once said to me, there could have been a multiple-choice question on the final exam that read as follows:

    Who was the greatest painter of all time?
    A) Raphael
    B) Michelangelo
    C) Diego Velázquez
    D) Mark Rothko

    As my friend said, no student would have been in doubt about the answer the faculty expected to get.

    Rothko is no longer cool or hip, of course, but thanks in part to being talentless and Jewish, he hasn’t yet been cancelled. Besides, compared with some of the garbage that appears in the Times piece that Gilley justly mocks, Rothko almost looks like someone who merits his reputation.

  3. Mark Engholm
    Mark Engholm says:

    The really ridiculous thing about this absolute nonsense is how Blackrock is mentioned in a subordinate clause. It’s hard to believe that people of our kind can actually be so stupid, but they are constantly trying to convince us of this.

    The Jewish platform “Rebel News” also reports diligently on “X” about Klaus and his ilk. It’s unbelievable how stupid these people think we are. Impertinent impudence that! This is “Radio Yerevan”! https://www.kla.tv/27896


    How long do they think they can continue to offer us this as truth? Is this “alternative journalism”? Is this a brazen salesman mentality? Is it the deliberate intention to bore all those who have long since been enlightened to tears?

    • Mark Engholm
      Mark Engholm says:

      For 2300 euros a night, even I would spend the night with the Kotzbrocken “Ze Greht Reesett”-Klaus. After all, the man is probably completely impotent and only needs an hour-long flogging to get really aroused. This would not only give him but also me a great deal of pleasure! https://www.dict.cc/?s=Kotzbrocken


      The self-proclaimed high-class prostitute with the upmarket “stage name” Salomé Balthus is the granddaughter of the GDR dissident Robert Havemann and the daughter of a GDR musician named Reinhardt Lakomy, whose only (very limited) audible works are a kind of cheap imitation of Tangerine & Co, which was probably primarily due to the impossibility of obtaining high-quality instruments from the capitalist western part of the city. Only the last two albums from more recent times can be described as a little more sophisticated. https://linkmix.co/20945409

      In an interview with the Swiss media Jew Schawinsky, who, as always with this species, is keenly interested in every form of social perversion to be “normalized”, she says that she regrets that her prudish father (deceased in 2013) had no knowledge of her more than questionable profession and that she regrets not having informed him of this outstanding secret to the end of her life as a “nobel” hooker. But the interview with the lust-obsessed, scandal-hungry Jew had legal repercussions.

      After all, these are exclusively well-heeled, civilized and well-groomed personalities, for whom she offers her body for abuse in a fair exchange. She had also studied literature and phisosophy, and was therefore trained as a consoling conversation partner at the very highest intellectual level. She is even regarded as “Germany’s most prominent prostitute”, a highly enviable honorary title that few others can boast of. https://www.youtube.com/watch?v=yFw7vV5pWHg
      Correction: Havemann was not her grandfather, instead she is in a relationship with Havemann’s son Florian. “Balthus and Havemann have been a couple for 15 years: ‘He respects the fact that I am a young woman who sleeps with other men’.” Can you imagine a more dreamlike connection? “Rent out my wife’s genitals to the highest bidder!” Perhaps the supposed cuckold is actually doing this to gather information to blackmail her customers in the old Stasi style. There are weird people in this world, you’d never guess it.

  4. Mark Engholm
    Mark Engholm says:

    My message to Heil Cunt aka Kyle Hunt: “Your eternal kissing of women’s asses is un-German and unmanly, we despise that! Let me tell you that. You’re dragging our culture into the mud, you stupid, weak asshole!”!

    • Mark Engholm
      Mark Engholm says:

      When people ask me what makes me think that this “heathen” Hunt must be suffering from the typical syndrome of a full-blown mother complex, namely a child never weaned from the mother’s breast, never separated from her umbilical cord, with all its manifold forms of expression, I can only say, anyone who spends years seeking the most intimate symbiotic closeness to a person like his ex-matron, with all her malicious traits and documented hysterical outbursts, without feeling an almost voluptuous passion for systematic self-disempowerment, can only be suffering from an absent desire for autonomy, a lack of emasculation.


      According to all that research knows about it, there were no matriarchal forms of society in the Germanic tribal world (such as among the Celts, whose supposed descendants are Hunt and his adored ex-“goddess”). Tacitus only reports on a population living in Sweden, and in an unmistakably contemptuous manner: “Upon the Suiones, border the people Sitones; and, agreeing with them in all other things, differ from them in one, that here the sovereignty is exercised by a woman. So notoriously do they degenerate not only from a state of liberty, but even below a state of bondage.”

      That is why I also consider the so-called “Oera Linda” to be a fabrication, because in it, only women are depicted as the rulers of a peaceful gynocracy. This fantasy probably stems more from the masochistic imagination of a submissive fantasist. https://www.youtube.com/watch?v=4wnhbg_aBeQ

      This guy here, a gentleman named Valentin who can be localized to Bavaria according to his slight accent, reads, discusses and comments on the supposedly “millennia-old document” in 10 hours, without hiding his aversion to today’s “satanic” FRG and EU system. He says that even if the document is a forgery, it has more of a “symbolic” meaning, which in turn bends it into a truth. https://www.youtube.com/playlist?list=PL7lNMCHCnUtB4NAR2XSXazxJ0sgSNpk4V

      According to Valentin, the EU is a self-destructive institution (at the time he made the video) systematically controlled by three women (Merkeln, Lagarde, Von der Leyen). In this respect, I agree with him. Jews are implicitly meant by him, but not addressed as such with their label. Whether Helmut Kohl, Merkel’s foster father, was actually called Henoch Kohn and was a descendant of Kazarian Jews is probably pure speculation.

      It is known that the Frisians traded extensively with the Vikings, without the Viking slave trade their terps would have remained uninhabited. However, I think it is a bit far-fetched to call them Vikings. https://www.youtube.com/watch?v=ZwMxxK9JkK8


      “Baldur’s Drauma” by a “Nazi opponent of Hitler” fortunately sounds less depressing than its title initially appears, because Draumar does not mean trauma but dreams. https://en.wikipedia.org/wiki/Baldurs_draumar


      • Mark Engholm
        Mark Engholm says:

        Can Faroese Fróði Midjord confirm his
        Frisian ancestry through a genetic test?


        Habeck refuses to sing the anthem: “I’ve always found love of one’s fatherland to be a pain in the ass. My sons are more Danish than German. I don’t only feel at home where my language is spoken.” Habeck has close family ties to Denmark. His four adult sons study in the neighboring country, have Danish girlfriends and speak Danish with each other, Habeck told the Danish radio station DR. https://www.youtube.com/watch?v=YF-E0_ImU_g

        The question of whether and for how long Robert Habeck flew to Israel in February 2023 and whether it was a vacation or a business trip was only answered indirectly. This was first reported by the Bild newspaper. Press spokesperson Haufe: “I cannot give you any information about any private trips.” While much more relevant events with other prominent guests take place on other stages or in the congress hall in Davos, Robert Habeck speaks in a room with just 83 seats. There he outlines nothing less than his own economic theory.


        Detlev von Liliencron wrote the historical ballad “Pidder Lüng” in 1892. It immediately became very popular – at least in northern Germany. The theme of the ballad is the medieval struggle of Sylt’s fishermen against the greedy courtiers of the equally greedy and untruthful Queen of Denmark. The poem describes how the Queen’s self-righteous and self-satisfied beadles, laffs and ground troops cross over to Sylt to collect taxes from the fishermen – contrary to the “eternal promise” of the royal house that, among other things, fishing in Sylt would be tax-free.

        The first fisherman that the beadles call on is Pidder Lüng, a poor island fisherman whose catch was barely enough to live on. But he was a free and proud man. When the bailiff of Tondern (at that time the North Frisian Islands belonged to the Kingdom of Denmark) came with his mercenaries to collect the taxes, he found Pidder Lüng enjoying a meagre meal with his family and the fishermen’s assistants.The bailiff demanded immediate payment of the taxes due and, to emphasize his demand, spat in Pidder Lüng’s kale dish. Pidder became so angry that he grabbed the bailiff and smothered him with his face in the hot pot of cabbage. As he did so, he shouted: “Lewwer duad üs Slaav!” The bailiff’s mercenaries slew Pidder Lyng and his men. But his cry for freedom: “Better dead than a slave!” has survived to this day and is a symbol and role model for Frisian national consciousness.

        With this (still valid today) motto of the Frisians (East and North, West and South, albeit with slight linguistic variations) “Lewwer duad üs Slaav!” (“Better dead than a slave!”), which can still be found on the official coats of arms of East Friesland and North Friesland, Pidder Lüng expresses the indomitability of the Frisians in the face of state authority. But what does this ballad have to do with current events? A great deal. Yesterday, the farmers’ furor, which is flaring up all over Germany and is heading towards an eagerly awaited explosion next Monday, also flared up on Hallig Hooge – very close to Sylt: A crowd of angry farmers could no longer be kept under control by the police and forced Robert Habeck – returning home from his vacation at taxpayers’ expense – back onto his ferry.

        The crowd could no longer be controlled or directed and it was the first time that a member of this unfortunate traffic light government could not, as usual, hide behind his security officers and civil servants. Of course, instead of practising any kind of self-criticism, the federal government is once again trying to present itself as the victim of “right-wing populist” popular anger and rage and is hyping up the action as an act of violence by a “mob” – although not even the police want to talk about violence. The parallels between the indomitable struggle of the fishermen and today’s farmers are in any case striking and one cannot help but re-read Detlev von Liliencron’s rhymes as a striking epilogue to today’s developments.


        On the sea-trodden meadows,
        On the wild North Sea beach,
        We live, we free Frisians,
        Proud of our fatherland
        That freedom’s noble offspring
        Always nourished in its bosom.
        High it resounded far and near:
        Eala fria Frisia.

        Glorious is the land of the Frisians,
        Germany’s best, richest county!
        Land where milk and honey flow,
        Where fat drips like the dew,
        Golden seed to the farmer rewards,
        Who dwells on his free inheritance.
        High it resounded far and near:
        Eala fria Frisia.

        On the flowery meadows
        the countless cattle is grazing;
        Wherever the eyes are looking,
        Waves of seeds golden and heavy;
        Even if the rude northwind is blowing,
        The night’gall sings and roses blossom.
        High it resounded far and near:
        Eala fria Frisia.

        Leda’s and Amasia’s waves
        Rush like ships through the land,
        A thousand proud sails swell
        Seeking along the sea-bound beach.
        Friesland’s bold host of sailors
        Sails on the farthest sea.
        High it resounded far and near:
        Eala fria Frisia.

        Frisia’s noble daughters shine
        their beauty of blooming splendor:
        Roses gently paint the cheeks,
        Sky-blue are the eyes that laugh!
        Like the lilies slender and bright,
        Pure as pearls, true as gold.
        High it resounded far and near:
        Eala fria Frisia.

        Bright in Our King’s Crown
        Shines the diamant – Frisia!
        Strong pillar of His throne,
        Wavering not when storms there. –
        Though sometimes misjudged –
        Frisian fidelity yet stands firm!
        High it resounded far and near:
        Eala fria Frisia.

        Glorious shines the Frisian honor,
        Always with high fame called,
        Across lands, across seas
        Is the Frisian tribe known;
        Like the waves of the free sea,
        Like the rocks firm and true.
        High it resounded far and near:
        Eala fria Frisia.

        Among the free Frisians
        Genuine honesty flourishes,
        Firm loyalty, pure morality,
        Fearlessness in battle!
        Among Germany’s army of nations,
        The Frisian stands high and noble.
        High it resounded far and near:
        Eala fria Frisia.

        When the proud Roman was victorious,
        Germany’s counties in fetters struck,
        Bravely the Frisian fought,
        did not bore the foreigner’s chains.
        Even the throne of the world ruler
        Frisian swords already protected.
        High it resounded far and near:
        Eala fria Frisia.

        Charlemagne struck with free Frisians
        hard-pressed Rome;
        Their boldness, proven there,
        Testifies Sanct Michel’s proud cathedral.
        And in gratitude for courage and loyalty
        Charlemagne gave the Frisians free.
        High it resounded far and near:
        Eala fria Frisia.

        In the holy crusade wars,
        The flag of the Frisians waved brave!
        Frisians boldly set out for victory
        Using their iron flails to break
        Damiettes’ proud tower
        fell under the strong Frisian storm!
        High it resounded far and near:
        Eala fria Frisia.

        In the armies of the German Empire
        The Frisians followed freely.
        Their swords, powerful spears
        Always paved the way to victory!
        Where the Frisian battle cry sounded,
        The boldest foe was afraid.
        High it resounded far and near:
        Eala fria Frisia.

        Under Edzard, their great,
        Free prince firmly united,
        Stand the Frisians! May be enraged
        Even the ten times stronger enemy,
        Bravely the Frisian hero
        Hit all enemies from the field.
        High it resounded far and near:
        Eala fria Frisia.

        Even in the realm of thought
        The glory of the Frisians shines up;
        Inside the barriers of science
        The Frisian stands out proudly.
        Great in the field, great in the council,
        Bold in speech and bold in deed!
        High it resounded far and near:
        Eala fria Frisia.

        When before Luther’s thunderous voice
        Germany’s spiritual night once waned,
        Frisia, in spite of folly and fury,
        Gladly laughs towards the light;
        Quickly breaking the spiritual shackles,
        Freedom loves only the light.
        High it resounded far and near:
        Eala fria Frisia.

        And the wreath of the noble, beautiful,
        Has always blossomed for the Frisians;
        Often in strong, gentle tones,
        Sounded the noble Frisian song.
        Insolent the lie! that speaks there:
        Free Frisians do not sing.
        High it resounded far and near:
        Eala fria Frisia.

        Free Frisians! resound high
        Let the Frisian people sing!
        The hearts of all Frisians swell
        Bolder at the sound of the song,
        That we dedicate to the native land.
        Thundering all join in:
        High it resounded far and near:
        Eala fria Frisia.

  5. Joe
    Joe says:

    When you look back on the early 20th Century, you see exactly what the jews did to modern “art” with Expressionism, Cubism, Dadaism, etc… It was all degenerate and nonsensical. Yet, because (((they))) controlled the museums, the “critiques” of the newspapers, the media, academia, etc…, they managed to successfully foist this ugliness upon the world and claim it to be “great”, “deep” and “profound”. It is only profound in its decadence and mediocrity.
    The National Socialists reviled this trash and patronized Classicism and beauty, which is yet another reason why the eternal nation-wreckers detest them so much.

  6. George Kocan
    George Kocan says:

    “Modern art” which is mostly associated with abstract expressionism has been analyzed and discussed on these pages before. It is not really art. It is anti-art. It is Jewish art and has a goal, the obliteration of Christianity from the consciousness of the world. A practitioner of this activity does not have to be Jewish to make Jewish art. As long as he rejects art as practiced by Christians for hundreds of years. Picasso produced a abomination for Chicago, a gigantic steel structure which cost million of bucks, standing in downtown Chicago. It is a meaningless waste of steel which has been dubbed the “flying baboon.” In contrast with Michaelangelo’s Pieta, which depicts the most import event in the history of the world, the crucifixtion and death of Jesus. Artists no longer aspire to the standards of Michaelangelo. A pity. An outrage.

  7. Noroc
    Noroc says:

    I agree with many of the sentiments expressed here about the vacuity of much of modern and especially contemporary art. However, I don’t think it is possible or even desirable to go back to the traditional art of our past. Instead, I would call for a reinvention of the myths and symbols that made us a great people and civilization. I don’t know yet what these will be. We have to find them. For me and in my own work, this currently involves images of space travel, genetics, and to some degree an appropriation of our past, especially prehistoric imagery from the caves of Europe and the art of pre-Classical Greek civilization. If we are living in the decline of the West, then let’s start reimagining our future from the beginning.

    Thanks for this important article Kevin.

    DELFI MEDIA says:

    BOOK: The Decline and Fall of Western Art

    About the Loss of Western Art to a False Art Philosophy, Nihilism, Industrialization, and a Corrupt Art Establishment

    By Brendan M P Heard

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