An “art educator” at a high school in rural Maryland unveiled a mural this past week that was supposed to make everyone in the student body welcome. The newspaper article focused on the single hate crime committed in this school, in which a mulatto Latina was told in a friendly fashion that she “spoke white.” Since the only crime committed by the largely Caucasian student body was to rudely state the obvious, that most non Caucasians speak in a different dialect than Caucasian-Americans, one might wonder what all the fuss was about.
Then the mural told the story for itself.
This was not about inclusion of minorities, but exclusion of the current majority, working towards their social extinction.
It’s about keeping down the two ancient Maryland slave races by emasculating their men and blessing the new slaves to the elite.
In the foreground is the blue planet earth, out of which rises, like a Goddess, a Middle Eastern woman in a scarf that is worn against her society’s conventions, fully exposing the face and hair.
To her right, as the centerpiece of the mural, is an African American man who looks like he was modeled after actor Ving Rhames, cap thuggishly worn, but surrounded by sparkles, wearing shining earrings and draped in the rainbow flag as a flamboyant homosexual.
It would figure that it was a blond bitch that plotted his emasculation in effigy.
Far to the right, in the lower corner, surrounded by schooling fish, is the least consequential of the four figures, a white man in the sacred cap of his God-chosen people, looking every bit the sissy pacifist.
And in the back, tiny and smiling, the slave-boy that will work to sustain these three figures on Third World wages, cheers in arm-raised victory at his perpetual status as toiling stepchild of the greater society.
Such civic murals are the descendants of the monumental architecture of the past which established social templates. Whether the “art educator” knew this or if the organic truth simply emerged from her fertile guilt pan is open to speculation.
Thought Crimes: Capital
Masculinity
Biography
Did you catch any video of the burning of Jue de Paume modern art museum in Paris recently? Apparently this degenerate “art” makes good kindling.
I left this entire subject out of my foray into atheism. Glad to hear some of the atheist iconography has found its way onto a pyre.
I am sorry to hear of any museum being torched, but I might make an exception for certain sorts of "modern art".
Recently the Boston Museum of Fine Arts had an exhibit of portraits by Gustav Klimt and Egon Schiele. The Pretty Korean Girl had dragged me there to see the MC Escher exhibit, and afterwards we wandered into the Klimt/Schiele hall. I was sickened by the Schiele works, to the point where I felt physically nauseated; followed by a weird mix of anger and pity which drove out the nausea. PKG could not understand any of this (and still doesn't). "So you don't like it. Just ignore it."
Anger: that such a twisted, revolting view of humans and the world could and would be foisted upon the world as Art.
Pity: that Schiele had had to live in his own head that was filled with such self-hating (check out his self portraits) foulness.
Anyway, don't take my word for it, have a look and decide for yourselves.
google.com/search?q=egon+schiele&client=firefox-b-1-ab&source=lnms&tbm=isch&sa=X&ved=0ahUKEwirl72mkq_fAhWmUt8KHS7_CSkQ_AUIDigB&biw=1339&bih=733
Thanks for this.
I think of modern art and literature as the colon of a dying society where once they were the brain and personality of a rising society.