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Occidental Observer 1/30/2015

Mission Statement The Plot Against Art, Part 2


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Dr Lasha Darkmoon
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September 20, 2009
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I hate to tell you this, but if you like modern art there has to be something
radically wrong with you. To feel hostile towards it is as natural as being repelled
by incest.
Search Modern art is out to corrupt you.
If it doesnt do this, it will have failed to achieve the primary purpose of its elitist
Home promoters. It will have failed to undermine traditional values. It will have failed to
produce a culture of pessimism. It will have failed to destroy the sacral core of
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The Wheelers and Dealers
That the Jews dominate the art world, as they dominate the mass media and
every other area of influence, is the best-kept secret of the twenty-first century.
One is not supposed to mention this. It is anti-Semitic to do so.
In 1989, an erudite academic volume appeared called Sociology of the Arts. In
it the authors discuss who is who in the art world. Blacks, Orientals, and
persons of Spanish origin constitute about 7 per cent of the art audience, the
book informs us helpfully. So what about the other 93 per cent?
What ethnic group owns most of the art galleries? Who are the museum
curators? Who are the art historians? Who are the art critics? Who publish the
magazines in which art is reviewed? Who determine what is good art and what
is rubbish? Who are the dealers and big collectors? Who run the auction
houses? Who set up the art competitions and raise the prize money? Who
appoint the judges? Who are the judges?
Not a word. Total silence. Scary, isnt it?
A s far back as 1930, it was noted by French author Pierre Assouline:
According to dealer Pierre Loeb, four art dealers out of five are Jewish, as are
four out of five art collectors. Wilhelm Unde added art critics to this list. In 1973,
it was estimated that 80 per cent of the 2500 core art market personnel
dealers, curators, gallery owners, collectors, critics, consultants and patrons of
the arts were Jewish. In 1982, Gerald Krefetz (Jewish) let the cat out of the
bag even further. Today, Jews enjoy every phase of the art world, he admitted.
In some circles, the wheelers and dealers are referred to as the Jewish mafia.
Writing of his experiences in New York City, Jewish author Howard Jacobson
revealed that art critic Peter Schjedhal had told him, Just about every gallery we
go into is run by a Jew. Even the women gallery owners whose wine we absorb
are Jewish.

Riki R. Nelson, Girl in a Box, Girl in Cherry Silk, from the Saatchi Gallery,

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Riki R. Nelson, , from the Saatchi Gallery,
London
In 2001, ARTnews listed the worlds Top Ten Art Collectors. Eight of them were
Jews. Ponder these staggering statistics: A people who constitute 0.2% of the
worlds population make up 80% of the worlds richest art collectors. Out of
every thousand people in the world, roughly two are Jews. To be precise, one in
every 457 people are Jews. Yet go to a conference at which 1000 of the worlds
wealthiest art collectors have gathered and you will find, to your amazement, that
800 of them are Jewish! Phenomenal, isnt it?

Nigerian-born Chris Ofili's Holy Virgin Mary, from the collection of Charles Saatchi, an
influential Jewish art collector. The painting is described as "a carefully rendered
black Madonna decorated with a resin-covered lump of elephant dung. The figure is
also surrounded by small collaged images of female genitalia from pornographic
magazines." The painting caused a public uproar and media frenzy when exhibited at
the Brooklyn Museum of Art as part of the Sensation exhibition of Saatchi's collection
in 1999.

If you require confirmation for these citations, see here. This huge cache of
outr information has been particularly useful to me in researching the Jewish
influence on modern art.
The art world is so densely populated with Jews that one way to get away from
the goyim, if you are Jewish, is to take up art. That way, with any luck, you wont
bump into a non-Jew for days! In 1996, Jewish art historian Eunice Lipton
confided somewhat tactlessly that the only reason she became an art historian
was that she wanted to hang out exclusively with Jews. I wanted to be where
Jews were that is, I wanted a profession that would allow me to acknowledge
my Jewishness through the company I kept.
On the face of it, she noted, art history would seem to be a gentile profession, if
only because the study of Christian art was its hub and center. And yet, she
says, the field was filled with Jews. One might even say it was shaped by
them.
She was doubtless thinking of the great historian of Renaissance art, Bernard
Berenson, whose influence has been seminal. Berenson once described
himself as a typical Talmud Jew who longed to drop the mask of the goyim
hardly, one is tempted to think, a fit interpreter of Christian art to the hated
gentiles! Though he had converted to Christianity in 1885, here we see him,
almost sixty years later in 1944, writing an Open Letter to the Jews in which he
warns them about envious Christians who would persecute them even if you
were innocent as the angels. To my mind, this sounds more Talmudic than

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were innocent as the angels. To my mind, this sounds more Talmudic than
Christian.
With the rise of German fascism, Jewish art historians began to flee Nazi
Germany, along with those Marxist revolutionaries known as the Frankfurt
School. Most of these Jews ended up in America. At New York University alone,
the following Jewish art historians were to take up residence: Richard
Ettinghaven, Walter Friedlander, Karl Lehman, Alfred Salmony, Guido
Schoenberger, Martin Weinberger.
Art historian Lipton probably also has in mind when she says she wanted to
live in a predominantly Jewish atmosphere the two most illustrious art critics
of the twentieth century, Harold Rosenberg and Clement Greenberg. Like
Berenson, Greenberg appears to have had a distinctly Talmudic cast of mind.
Convinced of Jewish superiority, he once remarked, The European Jew
represents a higher type of human being than any other yet achieved.
Both these influential critics, Rosenberg and Greenberg, were members of the
Frankfurt School and helped to reshape the aesthetic perceptions of the gentile
masses.
Bending Art to Jewish Abilities
All art henceforth was to be Jewish. It would break free from its Christian roots.
Whatever Jewish artists were good at, that would be the art of the future. If Jews
were no good at drawing, good drawing would no longer be necessary.
Representational art was out, abstract and conceptual art was in. Actual
unmade beds, not pictures of them, now became works of art. Marcel
Duchamp's famous urinals bought in a store and transported to an art gallery
where they were magically transformed into works of art. Cans stuffed with the
artists own excrement. Photos of crucifixes stuck in glasses of the artists
own urine.

Marcel Duchamp's Fountain, photographed in 1917 by Alfred Steiglitz, an early


20th-century Jewish photographer and promoter of modern art. It does not take
much stretching of the imagination, gushes Calvin Tomkins, art critic of the
New Yorker, to see in the urinals gently flowing curves the veiled head of a
classic Renaissance Madonna or a seated Buddha. In 2004, this inspired
pissoire was voted Most Influential Work of the 20th century by 500 art experts
sorry, piss-artists.

Preparation of these items places no demand on artistic abilities. They can be


done by anybody, Israel Shamir points out, adding somewhat cuttingly, Such
art is perfectly within Jewish capabilities.
In order to succeed in this difficult profession, the visually challenged Jews had
to bend art to fit their abilities. It is as if, unable to excel at athletic prowess, the
Jews had somehow managed to gain control over the Olympic Games and
decreed that, from now on, sprinting and marathon running were no longer
important. What really mattered was winning the sack race or the Spitting
Competition accomplishments, possibly, which Jews were particularly good
at!
The Jews were extremely ill equipped for their conquest of Olympus, Shamir
instructs us. For many generations, Jews never entered churches and hardly
ever saw paintings. They were conditioned to reject image as part of their

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rejection of idols. In short, the Jews were visually handicapped. Trained in


Talmudic dialectics, they were marvelous with words. They had a verbal IQ of
130. Their IQ for patterns and pictures, however, was dismally low: only 75.
The Jews of course dont wish to acknowledge this. To suggest that they tend to
make lousy artists is anti-Semitic. If Jews didnt make more of a splash as
artists in past ages, it is argued, it was because they were held back by their
Christian oppressors. Unfortunately for the Jews, the great Berenson will have
none of this argument. The Jews have displayed little talent for the visual, he
states tersely, and almost none for the figure arts.
How, then, you might wish to know, are there so many Jewish artists around
nowadays? To what can we attribute this fantastic efflorescence of sudden
Jewish pictorial genius? The answer, we are told, lies in Jewish networking
and hustling: Jewish predominance in the mass media, Jewish economic
dominance of the art world, Jewish power, Jewish money.
How Anyone Can Be Famous
Andy Warhol once said that everyone in the future will be world-famous for
fifteen minutes. What he failed to point out was that almost anyone, including
the village idiot, can be made into a celebrity with the help of public relations. All
it takes is constant attention in the mass media. Charles Saatchi, advertising
mogul and art collector extraordinaire, spells it out: An unknown artists big
glass vitrine holding a rotten cows head covered by maggots and swarms of
buzzing flies may be pretty unsalable. Until the artist becomes a star. Then he
can sell anything he touches (my emphasis).

Interior of Everyone I have ever Slept With, 19631995, an iconic work by


Tracey Emin, owned by Charles Saatchi until being destroyed in a fire.

Damien Hirst, A Thousand Years (1990). Richard Lacayo of Time Magazine: A


Thousand Years is a large glass box in which real maggots hatch into flies that appear
to feed on blood from a severed cows head. Charles Saatchi and Hirst had a
"symbiotic relationship" as collector and artist from about 19922003.

How does one become a star? Who gives the Emperor his new clothes and
helps to suggest he is remarkably well dressed?
An unmade bed is transformed into a consummate work of art once it is bought
by Charles Saatchi and placed in a prestigious art gallery. The artist acquires a
mystique created out of the power of suggestion. You must be a genius if
everyone is raving about you and your unmade bed. Mass hypnosis does the
trick. Advertising and persistent persuasion work wonders. See here and here
and here.

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Let me ask you a question. If someone tried to sell you his excrement for $10,
would you buy it? Probably not. Well, consider this: on May 23, 2007, a can
labeled Artists Shit, purportedly containing the excrement of artist Piero
Manzoni, was sold at Sothebys for 124,000 (US$ 180,000).
How is it done? Is a can of shit worth its weight in gold? It obviously is if
people are fighting to buy it.
A larger question: If you can con people into buying shit, can you also con them
into evil wars in the Middle East and mass cultural suicide in their own
homelands? Nothing easier. Its being done right now.
Talent helps, but is it essential?
You will be surprised to learn that some Jewish artists, despite Berensons
sweeping dismissal of their visual abilities, are actually quite good at painting.
For example, Modigliani and Chagall. Shamir attributes some of their
excellence, however, to the influence of Christianity. These two Jewish artists
became Christians. This helped, Shamir thinks, to make them good painters. At
least they had something to say now. Life had taken on a new meaning. They
werent just scratching their existential sores and whining God is dead!
On the other hand, there were other artists who remained firmly within the Jewish
camp and managed to distinguish themselves: notably, Pissarro
(impressionist), Soutine (expressionist), Max Ernst (surrealist), and Tamara de
Lempicka (art deco). To succeed as an artist in the new milieu, it helped if you
were Jewish. Thus both Frida Kahlo and Gustav Klimt arguably owed their initial
success to the fact that everyone thought they were Jewish. They were not, but
somehow managed to give that impression.
The important thing to remember in all this is that artistic talent had become,
strictly speaking, non-essential. It helped, but promotion by a good publicist
helped more. The artist had to be a showman rather than a skilled craftsman.
Neither Tracey Emin (patchwork quilt) nor Damien Hirst (shark preserved in
formaldehyde) found it necessary to create their own works of art. Cheap
manual assistants were often hired to do this for them. The vital thing in their art
was the original concept. The end product was of secondary importance.

Tell Me Something Beautiful is a patchwork quilt stitched up entirely by eight-year-


olds from Ecclesbourne primary school, London, with Emin in the classroom offering
advice. When the school wanted to sell the quilt for 35.000 ($60,000) to an art dealer,
Emin threw a fit and threatened legal action, demanding the quilt be returned to her
at once.

The Physical Impossibility of Death in the Mind of Someone Living by Damien Hirst
(1991). Saatchi sold this work to collector Steven Cohen for $12 million, who in in turn
donated it to the Museum of Modern Art.

The successful contemporary artist needs to be a person devoid of moral


scruples. Confidence trickster, hustler, prostitute, pimp, he needs to mix with the
right crowd and know whom to cultivate. The artist who would be known, wrote
the great folklorist Joseph Campbell, has to go to cocktail parties to win
commissions, and those who win them are not in their studios but at parties,
meeting the right people and appearing in the right places. Campbell was later
accused of anti-Semitism, but Jewish artist Julian Schnabel backs up
Campbells claim. Much time is spent nurturing liaisons with creatures of the art

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world, he notes gloomily. There is no time for friendship. Later, there is no


capacity for it.
How does a really talented artist succeed in such a rat race?
Painter Helen Frankenthaler had to sleep with art critic Clement Greenberg, but
i t was worth it: Greenberg gave her good reviews. Willem de Kooning let his
wife Elaine bed down with art critic Harold Rosenberg, but it was worth it:
Rosenberg gave de Kooning good reviews. Jackson Pollock had to pleasure
nymphomaniac Peggy Guggenheim, but it was worth it: her patronage helped to
get Pollock good reviews. After all, her daddy owned the Guggenheim Museum.
None of these artists slept around for love. They did it for money. Jackson
Pollock famously said of Peggy Guggenheim, his plutocratic patroness: To fuck
her, youd have to put a towel over her head. And she did want fucking.
Incestuous collusion, mutual back-scratching, under the table wheeling and
dealing, nepotism and clique allegiance are intrinsic principles of the modern art
world, art expert Sophy Burnham concludes ruefully.
Thats how it is. Cest la vie! Its so heartbreaking you have to laugh.
If you wish to succeed as a modern artist, be prepared to lie and cheat, to be a
confidence trickster and sexual exhibitionist, to flatter your Jewish patrons and
churn out Holocaust paintings to please them, to sing the praises of Israel and
vilify the Palestinians, to knock Islam and the Quran and show contempt for
Christianity. Unless you are Jewish, you must lose all allegiance to your people,
your religion, or your traditional culture.
Be prepared to prostitute yourself if youre a woman or pimp your wife if youre a
man. Be prepared to do a Piss Christ like Andres Serrano or a pornographic
Holy Virgin Mary like Chris Ofili. Be prepared, like Grayson Perry, to dress up
as a woman and produce sexually perverted pots. Be prepared to pull a paper
scroll out of your vagina like Carolee Schneemann. Be prepared, like Vito
Acconci, to titillate a jaded public by masturbating for them in a prestigious art
gallery and calling it art.
Leonardo must be turning in his grave.
Let art critic Clement Greenberg have the last word: Ive decided the kind of
people attracted to art are often psychopaths. You can quote me on that.
He should know.

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-ArtII.html

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