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The Plot Against Art, Part 1

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Dr Lasha Darkmoon

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September 19, 2009

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.

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.

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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 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

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Dr. Lasha Darkmoon

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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
art 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).
To 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. 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-

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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!
One 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

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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 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 has 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
Tweneth 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.

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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?

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

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Entrance through the Gate Exit from the Chimney by Joseph Bau

As 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 Oli's Holy Virgin Mary and Andres Serrano's Piss Christ

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.

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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

Click here to go to Part 2.

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