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Category: Art

Dec 16 2019

Gay Zapata Painting Splits Left in Mexico

It isn’t just in the USA, the UK, and Canada that the pushiness of pro-LGBT militants threatens to fragment the progressive coalition. The Palace of Fine Arts Museum in Mexico City decided to stick it to heteronormativity by displaying a work depicting revolutionary hero Emiliano Zapata as conspicuously gay. This did not go over well with the union crowd:

“La Revolución” (2014), which depicts a nude Zapata donning a pink hat and high heels suggestively straddling a horse, was condemned by members of the Unión Nacional de Trabajadores Agrícolas (UNTA) and other similar agricultural groups for its characterization of the revolutionary. …

According to El Universal, Álvaro López Ríos, a representative of UNTA, led a storming of the museum around noon on Tuesday to demand that the painting be removed from view and destroyed. Protesters blocked the entrance and chanted “Burn it, burn it!”; they later hurled homophobic insults and other slurs at members of LGBTQ+ communities who had approached the scene in counter-protest.

The painting is part of an exhibit honoring the 100th anniversary of Zapata’s death.

[The gay Zapata painting] has incensed those who prefer to remember only a conventionally masculine image of Zapata, widely known as a principal figure of the Mexican Revolution, an early and important advocate for peasant rights in Mexico, and the namesake of the Zapatista movement. To farmworkers and ordinary Mexicans alike, he remains a beloved symbol of empowerment for poor and historically marginalized communities.

Insufficiently versed in the doctrine of intersectionality, these historically marginalized communities have failed to embrace the LGBT agenda.

Exhibit curator Luis Vargas Santiago sniffs that this proves “Mexico is still filled with homophobic machos.”

Lefties managed to alienate the working class in Britain, with devastating results for the Labour Party in last Thursday’s election. A similar phenomenon may be taking root in Mexico.

On a tip from Steve T.

Nov 24 2019

Statue of Bum Erected in Santa Monica

A society erects statues of those who embody the values it venerates. That’s why statues of great historical figures who represent the best of our culture when it was healthy are under attack (e.g., Thomas Jefferson, George Washington) now that it is sick with moonbattery. New statues will appear that reflect what we believe in currently: irresponsibility, self-imposed victimhood, self-indulgence, uselessness, dysfunction, psychosis. This process has already begun:

A seven-foot-tall sculpture of a homeless man was unveiled Monday in the courtyard of the former Santa Monica bank building once graced by the iconic mural “Pleasures Along the Beach.”

The mural was no doubt considered too wholesome to be appropriate. The bum statue by “Los Angeles artist and activist Ed Massey,” sardonically entitled “In the Image,” is more in tune with the times.

The new sculpture — which will be on display for six weeks — depicts a bearded homeless man in baggy clothes staring at a red plastic cup in his hand, a blanket draped across a shoulder.

This is not Massey’s first adventure in public tastelessness:

The artist caused a stir in Santa Monica 25 years ago when he installed a sculpture in an office building window depicting two figures of men hanging from their genitals above a raped woman.

We had already hit bottom a quarter century ago. Since then, we have been digging.

On a tip from Area man.

Nov 08 2019

New York Times Denounces Mona Lisa

We don’t have to wait for Muslims to acquire the demographic leverage to erase European civilization, like they erased the many Christian civilizations that flourished in the Middle East (Egypt, Syria, etc). Moonbats are beating them to it. A cultural vandal working for the odious and pernicious New York Times wants to throw out the Mona Lisa.

From the New York Post:

“The Louvre is being held hostage by the Kim Kardashian of 16th-century Italian portraiture: the handsome but only moderately interesting Lisa Gherardini,” art critic Jason Farago wrote, bashing Leonardo da Vinci’s renowned portrait.

He slams the painting — arguably the world’s most recognizable artwork — for turning the museum’s collection “into wallpaper for a cattle pen where guards shooed along irritated, sweaty selfie-snappers.”

“It is time for the Mona Lisa to go,” he proclaims.

The immediate objective is to generate attention through outrage. The NY Times needs every reader it can get, having alienated anyone who would to refer to it as an objective source of information. But this spiteful attack on a beloved part of our heritage fits with the overall objective of critical theory, the strategy by which progressives constantly hack away at all things Western, eroding our respect for our own culture.

On a tip from Kate P.

Sep 12 2019

Why Is Modern Art So Bad?

Why is modern art so bad? Because art has succumbed to moonbattery. That is to say, it has abandoned its standards.

Will Witt takes to the streets of Los Angeles to demonstrate:

You can’t have greatness and equality at the same time. So instead of greatness, we have modern art, where no artist is any better than another.

What moonbattery has done to art, it will do to everything else it touches.

Aug 29 2019

Why Don’t We Murder More White People?

If exploiting victims of Down syndrome to push transgender sickness can be “art,” why not other leftist agenda items, like egging on the unstable to kill Caucasians? That is the concept behind an installation/film entitled Why Don’t We Murder More White People?

Via American Renaissance:

San Francisco’s Yerba Buena Center for the Arts (YBCA) is a large museum next to the Moscone Convention Center downtown. This non-profit is funded by the City of San Francisco, the National Endowment for the Arts, Bloomberg Philanthropies, and the James Irvine Foundation. From July 23 to August 25, YBCA screened Jonathan Garcia’s movie Why Don’t We Murder More White People? It was on an endless loop and each cycle lasted 11 minutes and 17 seconds, and is now on Youtube.

The video consists of people expressing their hatred of whites. Some of them explicitly endorse racial violence:

“I think if you’re not supporting people of color and to end white supremacy, and you’re neutral, or you are that person that’s perpetrating it, then you shouldn’t—I think you deserve harm.”

“I think that harm is radical. But I think sometimes radical is needed.”

“And, sometimes I feel like non-violence is not the best route.”

This alleged work of art is as subtle as a blunderbuss in expressing its purpose: to validate and encourage hatred of whites.

YBCA describes Miss [Deborah] Cullinan [CEO of YBCA] as “one of the nation’s leading thinkers on the pivotal role arts organizations can play in shaping our social and political landscape, and has spent years mobilizing communities through arts and culture.” What does she hope to “mobilize communities” to do by screening a video about murdering whites?

The video has been removed from YouTube, presumably due to unwanted attention. Some moonbattery is intended only to be viewed by moonbats. But this gives the idea:

Note that this took place in San Francisco. So did the Zebra murders. Via Wikipedia:

The “Zebra” murders were a string of racially motivated murders that took place in San Francisco, California from October 1973 to April 1974. A group of male Black Muslims who called themselves the “Death Angels” committed at least fifteen murders and eight attempted murders, entirely against white victims. Some authorities, however, believe they may have killed as many as 73 or more victims.

The white minority America that leftists like Joe Biden have been longing for is going to be a scary place.

On tips from THOUGHTCRIMINAL2084 and ABC of the ANC. Hat tip: National File.

Aug 28 2019

Renoir Denounced as Problematic

The progressive bulldozer won’t spare even great painters like Renoir. The Clark Art Institute in Williamstown, Massachusetts is featuring his nudes, placing the famous impressionist in the crosshairs of the thought police. Sniffs the insufferable New Yorker:

Who doesn’t have a problem with Pierre-Auguste Renoir?

Until recently, most everyone. But now only the unwoke don’t have a problem with Renoir.

The art historian Martha Lucy, writing in the show’s gorgeous catalogue, notes that, “in contemporary discourse,” the name Renoir has “come to stand for ‘sexist male artist.’ ” Renoir took such presumptuous, slavering joy in looking at naked women—who in his paintings were always creamy or biscuit white, often with strawberry accents, and ideally blond—that, Lucy goes on to argue, the tactility of the later nudes, with brushstrokes like roving fingers, unsettles any kind of gaze, including the male.

The “male gaze” is a topic that causes feminists and their fellow travelers to gnash their teeth angrily.

The New Yorker critic doesn’t like the girls in Renoir paintings, and not only because it is racist of them to be Caucasian.

Their faces nearly always look, not to put too fine a point on it, dumb—bearing out Renoir’s indifference to the women as individuals with inner lives. … Peculiarly, Renoir did grant the women wonderfully articulated hands, the body part hardest to render convincingly—good for doing things, perhaps around the house.

That’s because Renoir was a sexist. He was in league with the patriarchy that must be smashed.

It feels wrong to term Renoir a misogynist, though he was certainly patriarchal.

Renoir may have been even worse than a misogynist, hard as that may be to imagine:

He deemed women who performed professionally “completely ridiculous”; in a letter to a critic, he explained, “In ancient times, women sang and danced for free for the pleasures of being charming and gracious. Today, it’s all for money which takes away the charm.” The airy assumption in that may be worse than misogyny, which at least credits women with power as antagonists. It marks no mere flaw in Renoir’s personality but an essence of it that dovetails with his attitude toward painting. … An argument is often made that we shouldn’t judge the past by the values of the present, but that’s a hard sell in a case as primordial as Renoir’s.

Not just a thought criminal, but a primordial thought criminal!

Before long, Renoir will join Robert E. Lee at the bottom of the memory hole. His sexist paintings will meet the fate of those Buddhist statues blown up by the Taliban. By then, the New Yorker will have moved on to new targets to denounce for being problematic. As mentioned yesterday,

Culturally speaking, there is nothing of value that leftists will not destroy. They want to clear the ground to make room for utopia.

The intelligentsia’s job will not be finished until Western Civilization has been completely obliterated.

On a tip from Varla.

Jan 28 2019

Nonsense on Stilts

The expression “nonsense on stilts” has taken concrete form in Petaluma, California. San Francisco artist Brian Goggin has been commissioned to place five bathtubs atop stilts up to 24 feet high on a riverside esplanade.

“They should use this money to fix potholes.” said Julie Black, a bartender who stopped to check out a mock-up of Mr. Goggin’s installation.

As with most wasteful government spending, there are some who approve:

Mary Jarvis, a 70-year-old retiree, wore a button that urged, “Let the Tubs Rise.” She said: “I like the whimsy of it. It makes me laugh.”

Taxpayers won’t be laughing if one of the bathtubs comes down on someone’s head, prompting a $zillion lawsuit. The installation itself costs $150,000.

A fake tub was raised for the dry run mockup…

The action was accompanied by a man beating a drum. Once the canvas tub was in place, the drummer, Ed Holmes, turned to the crowd and said: “If you want to ponder, ‘What the hell does this mean?’ do so at this time.”

We know what it means; it means public money is frivolously wasted by lunatics.

When Goggin addressed the crowd by bullhorn in an attempt to win over skeptics,

A young man in the back shouted, “Go back to San Francisco!”

Too late. Like Los Angeles, San Francisco is so full of moonbattery that it is sloshing over the sides to flood the rest of the state — and the rest of the country.

A GoFundMe page by opponents of the bathtubs has raised over $4,000. But you can’t fight city hall.

On a tip from Varla.

Jan 26 2019

Obscurantism, Moonbattery, and Modern Art

Liberal ideology, particularly as it is promulgated by universities, is similar to modern art in that both are manifestations of moonbattery that rely heavily on obscurantism to dupe the gullible. Understand what a useless, pernicious, and contemptible racket modern art is, and you may understand the same regarding the dogma of the prevailing intelligentsia.

Paul Joseph Watson offers some help (the usual language warning applies):

Modern art has made real art all but impossible in the modern world. Modern liberalism is doing the same to anything classical liberals like the Founding Fathers would recognize as liberalism.

On a tip from Kate P.

Jan 15 2019

Blasphemy at Haifa Museum of Art

People who hate Israel want to give it the South Africa treatment through the Boycott, Divestment, and Sanctions movement. To garner support, Ilhan Omar, Linda Sarsour, et al. ought to stop bleating about allegedly oppressed terrorists and instead show people what is on display at the Haifa Museum of Art. From the Holy Land:

Hundreds of Christians protested outside the Haifa Museum of Art in Israel on Friday against Jani Leinonen’s McJesus sculpture of a crucified Ronald McDonald, conflating the American fast-food chain with the crucifixion. Yet the Finnish artist insists that he requested the work be removed from the museum’s Sacred Goods exhibition (until 17 February) last September and that it is on display against his wishes.

For a change Christians are pushing back; the protests have escalated to violent clashes with the police. But the government-funded museum has refused to remove the blasphemous work, despite requests from local Christian leaders and from Leinonen, who ironically wants his juvenile work removed because he has joined the BDS movement. It is doubtful that the museum features sacrilegious insults against Judaism or Islam.

Before we get mad enough at Israel to support BDS ourselves, we should keep in mind that taxpayer-supported museums in the USA have featured Piss Christ (a crucifix submersed in urine) and The Holy Virgin of Mary (Mary as painted by untalented child, surrounded by dirty pictures cut out of porno magazines and clots of elephant dung). Anger might be more constructively aimed at the moonbattery that has rotted the arts community to the core, and at the illegitimate use of public money to fund art.

On a tip from Sean C.

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