Occidental Observer 1/30/2015

Mission Statement The Plot Against Art, Part 1

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Dr Lasha Darkmoon
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September 19, 2009
Contact us Never before have so few been in a position to make fools, maniacs or criminals of so many.
HG Wells, The Shape of Things to Come.

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Ill begin with a confession: I am a failed artist. Ever since I can remember, I have
wanted to paint. The only thing that stopped me was lack of talent. The first time I
did a self-portrait, checking with the mirror in my bedroom to see how I was
getting on, my mother put an abrupt end to my artistic ambitions by exclaiming,
Gosh, what a cute little chimp!
It was a rude awakening for a nine-year-old artist.
About a decade later, I asked myself was art was all about. One day I found this
sentence in a biography of Burne-Jones, and I jotted it down in my diary and
pondered it for a day or two, I mean by a picture a beautiful romantic dream of
something that never was, never will be in a better light than any light that
ever shone in a land no one can define or remember, only desire and
from forms divinely beautiful.

Waterhouse, The Lady of Shalott, 1888.

Art as it used to be, when painters knew how to paint. This would now be considered kitsch.

When I read that sentence, I almost fainted. I was a sensitive girl, given to fits of
swooning at the slightest opportunity. It was then I realized there was no real
difference between poetry and painting, between painting and music. All, in their
own ways, sought for God albeit a God who might not exist but a God
nonetheless. God was beauty. God was longing. God was the fire in the rose.
Thats what I thought then. I was young and foolish.
Art, I found out later, was about making money. Organized Jewry taught me this.
Art dealer Paul Rosenberg says, A painting is only beautiful when it sells.
Jewish president of the Marlborough Gallery, Frank Lloyd, confirms this: There
is only one measure of success in running a gallery: making money.
The question we need to ask is: Who runs the Art Market and how did it become
a freak circus?
Art Should Make You Miserable
Lets take a little trip round the art world with Israel Shamir. Mr Shamir, after all,
is not only well-informed about art but is also a tour guide in Jerusalem. He
agrees with me about the sacral nature of art. No art without Christ, he says. By
Christ he means much more than the historical Jesus. He means the Logos,
or Christ Principle, the rule of law in a divinely ordered universe.
Since Darwin and Freud, there has been a complete revaluation of all values.
Everything has been turned upside down. We can mostly attribute this parlous
state of affairs to the machinations of organized Jewry, in particular to a group of
revolutionary thinkers known as the Frankfurt School. (For a detailed
introduction to the ideas of these neo-Freudian Marxists, most of whom were
Jewish refugees from Hitlers Germany who fled to America, see Chapter 5 of

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Jewish refugees from Hitlers Germany who fled to America, see Chapter 5 of
Kevin MacDonalds The Culture of Critique).
Just as one of these Frankfurters, Theodor Adorno, set out to destroy Western
music, assuring the world that atonal music was a good thing because it was
discordant and ugly, others in the group set out to destroy art and push it to its
reductio ad absurdum: lights going on and off in an empty room, unmade
beds with condoms and bloodstained panties strewn around, and sealed cans
containing the artists own excrement.

Tracey Emin's My Bed

Piero Manzoni's Artist's Shit

One of the founders of the Frankfurt School, Georg Lukcs, asked rhetorically,
Who will save us from Western civilization? He began the rescue operation
himself, convincing himself that the best way to do this was to create a culture of
pessimism and a world that has been abandoned by God. Cool.
Another of these mental giants, Walter Benjamin, believed that the purpose of
a rt was to make people as miserable as possible, for pessimism was an
essential preliminary to world revolution. To organize pessimism, he pointed
out portentously, means nothing other than to expel the moral metaphor from
politics. Benjamin succeeded only too well in making himself miserable. He
committed suicide.
Marxist revolutionary Willi Munzenberg made no bones about his mission in life.
It was to destroy Western civilization. No kidding. To accomplish this, he said,
the Frankfurters would have to organize the intellectuals and use them to make
Western civilization stink. Only then, after they have corrupted all its values and
made life impossible, can we impose the dictatorship of the proletariat. (My
italics).
T o summarize: Lets create a culture of pessimism. Lets make Western
civilization stink. Lets create a godless world and drive people to despair. Lets
corrupt societys values and make life impossible. In short, lets create hell on
earth.
It will soon become clear to you, if you are a struggling artist, that the art world is
dominated by Jews who are only too anxious to bring about this hell on earth.

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Their control over what now passes for art is as tentacular as it is terrifying. Art
has morphed into Anti-Art. For Jews, Israel Shamir points out, their group
interest lies in undermining visual art, for they cant compete with it. Even deeper
group interest is to undermine Christianity, their main enemy.
To undermine. To corrupt. To create discord. To drive crazy. To destroy. Verbs
to remember. Lets begin our tour of the art world, with Israel Shamir as our
guide, and try to gain an insight into what is going on.
Gallery Hopping With Mr Shamir
One day, Shamir finds himself in the Basque capital of Bilbao in Spain. He has
come to check out the museum of modern art built by the fabulously rich (Jewish)
Guggenheim family. The biggest building in Spain, the Guggenheim Museum
impresses Shamir profoundly its like something out of a science-fiction
movie but once he steps inside the building he is acutely disappointed.
Hey, what on earth is all this junk? Pieces of corrugated iron lying around like in
a scrap yard. Rusty iron plates in one corner. Video screens blinking away
inanely. Bare geometric forms. And, believe it or not, an entire floor devoted to a
collection of Armani suits. Boy, Im outa here! Shamir mutters to himself, making
a beeline for the Exit.
And what does he do next? He hops on a plane to Venice, and now we see him
poking around the famous Biennale Museum, trying to make sense out of a
collection of trashed cars on display. Mopping his brow feverishly, he needs to
sit down to collect his wits. No, dont sit there, sir those chairs are a precious
work of art! You want to read a good book, Mr Shamir, to take your mind of all
this junk? No problem. Heres a bookcase full of books. Help yourself. Or rather,
dont help yourself! This bookcase, crammed with moldy old books, is also a
sublime work of art! Yes, all the way from sublime, artistic Israel!
O ne might have thought that, after suffering all these disappointments, Mr
Shamir would have packed it in and gone back to Jaffa, determined never to set
foot in an art gallery again. But no, a glutton for punishment, our art guide now
decides to visit a museum in Amsterdam where he is confronted by a collection
of decomposed pig trunks. To his astonishment, he learns that a cadaver
immersed in formaldehyde, on display in this same museum, has been
purchased for $50,000 by a rich American. Wow, a corpse collector!
His disillusionment is total when, on visiting Copenhagen, he finds himself in the
church of St Nicholas. Being a convert to Christianity, maybe he goes in there to
pray. If so, he is saddened to have his mind polluted by the pictures he sees on
the walls of that venerable old church. Heres a color photograph of a naked old
woman, withered and sick. And here, right next to it, is a huge blown-up picture
of the female genitalia. And whats this? Oh, nothing to worry about! Just a
photo of a couple of guys having oral sex. Hey man, cmon! This is a healthy
and natural act! What better place for the celebration of joyous pagan
sexuality than a Christian church?
Whatever they proclaimed as art, was art, Shamir concludes ruefully. In the
beginning, these were works of some dubious value like the abstract paintings
of Jackson Pollock. Eventually we came to rotten swine, corrugated iron, and
Armani suits. Art was destroyed. [My italics.]
The Jewish Connection
So what does all this have to do with the Jews? Plenty. If you want to play that
fascinating game known as Cherchez le Juif, lets continue our tour of the
contemporary art world.
You will meet many artists, quite a few of them pliant and accommodating non-
Jews, who are prepared to jump through the hoops set before them by their
Masters: the ubiquitous Jews lurking in the shadows. The men who call the
shots. The men with the money. The men whom the artist must learn to please
and flatter if he hopes to get ahead and become rich and famous.
The ambitious artist will find himself drawn inevitably into a Jewish world. He will
learn to pepper his conversation with Yiddish phrases. He will never breathe a
word of criticism against Israel, no matter what atrocities that country is in the
process of committing. He will sneer at Muslims, the Quran and the
Palestinians. He will find it pays dividends to insult Christianity, the religion of his
forefathers. He will mention the Holocaust, whenever possible, with moist eyes;
and he will paint as many pictures of Auschwitz as he can, preferably with
chimneys belching black smoke.
All this has been done by goy artists. The proof for these claims can be found
here in this enormous archive of art information. I have drawn upon it heavily.
Even the great Picasso knew he was appeasing the Jews when he embraced
his friend Pierre Daix and confided in a low voice, To think that painters once
thought they could paint The Massacre of the Innocents! He was clearly
echoing or anticipating Adornos There can be no poetry after Auschwitz. If
there can be no poetry after Auschwitz, there can be no art either certainly not
Christian art.
Andy Warhol knew better than most how to ingratiate himself with the Jews. His

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1980 series, Ten Portraits of Jews of the Twentieth Century," features ten
portraits of what Warhol referred to as "Jewish geniuses," one of whom was
Israeli Prime Minister Golda Meir the genius who said there were no
Palestinians, adding with her famous flair for the witty phrase: How can we
return the occupied territories? There is nobody to return them to. Another
"genius" was Sigmund Freud, whom Kevin MacDonald h a s described as
having perpetrated the greatest scientific fraud of the 20th century a fraud that
was very useful in constructing the culture of Western suicide.

Warhol's portraits of Gold Meir and Sigmund Freud, from his Ten Portraits of Jews of the
Twentieth Century series
Warhol seems to have put his considerable charm to work with Henry
Geldzahler, curator of the Metropolitan Museum of Art an influential Jew who
happened, like Warhol, to be homosexual. Although they were never lovers, the
relationship became intimate, we are assured by one of Warhols
biographers. Andy spoke to Henry on the phone every night before he went to
sleep and every morning as soon as he woke up. I am not saying that Warhol
and Geldzahler were lovers, though others have said so. Thats of no interest to
me. All Im suggesting is that Warhol, a notorious opportunist, found it helped his
career to cultivate the Jews. His appeal, in the words of film critic Carrie Rickey,
was to the synagogue circuit.
Transvestite potter Grayson Perry here he is receiving the Turner Prize for
his inspired pots knew his success depended less on his talents than on the
advertising genius of his plutocratic patron Charles Saatchi. He was well aware,
moreover, that Islamophobia can always be relied on to win friends and
influence people in the Judeocentric art world. The reason I havent gone all out
to attack Islamism in my art, he confides fearlessly, is because I feel real fear
that someone will slit my throat. Avoiding controversial political statements in
the interests of discretion, Perry decided to devote his life to producing ceramic
pots depicting explicit scenes of sexual perversion. It must have been a
tough decision.

The potter wore bobbysox ... Grayson Perry poses with his wife Phillippa and daughter Flo after winning the
Turner Prize.

Non-Jewish artists such as Anselm Kiefer, Christian Boltanski and Christopher

Williams have been almost as prolific in their production of Holocaust paintings
as Jewish painter RB Kitaj, a man whose obsession with Auschwitz has often
been noted. The chimney in a Kitaj painting, art pundit Juliet Steyn informs us,
functions as an indictment on Christianity. Translation: After Auschwitz, who
needs Golgotha?

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RB Kitaj's Passion (194045): Cross and Chimney

Entrance through the Gate Exit from the Chimney by Joseph Bau
A s for Andres Serrano with his Piss Christ and Chris Ofili with his dung-
bedecked Holy Virgin Mary the Madonna surrounded by pictures of the
female genitals cut from pornographic magazines both these emotionally
immature artists were clearly aware that contempt for Christ and his mother is
often pleasing to the Jews.

Chris Ofili's Holy Virgin Mary and Andres Serrano's Piss Christ

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Artists? These men are more like circus dogs, trained to jump through hoops
and beg for bones from their masters. Its the men with the money, the Saatchis
and the Guggenheims, who crack the whip.

Dr. Lasha Darkmoon (email her) is an academic, age 31, with higher
degrees in classics. A published poet and translator, she is also a
political activist with a special interest in Middle Eastern affairs. Lasha
Darkmoon is a pen name.
Permanent link: http://www.theoccidentalobserver.net/authors/Darkmoon-ArtI.html

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