Before moonbattery, we had great leaders, whom we commemorated with public statues. The liberal establishment egged on Black Lives Matter mobs to tear these statues down. It would be hard to imagine anyone putting up a statue of our current “leader,” the senile corruptocrat chosen as the figurehead for the forces deliberately destroying our country. Yet a statue in Wyoming is known as the Joe Biden head:

The sculpture has a name — “Exhaling Dissolution” — but most everyone around Laramie knows it as the Biden head because they say it bears an uncanny resemblance to the current U.S. president.

Residents try to ignore the monstrosity and are glad it will be removed next month.

[Hannah] Blair said that she, like many other locals, has always been baffled by what the statue is supposed to represent and why it was deemed appropriate for Laramie or anywhere in Wyoming.

She thinks the artist was trying to convey a message about a need for equality.

Good guess, but creator Sarah Deppe of Iowa…

…has said that the sculpture is a commentary of the huge levels of pollution humans gorge out into the environment.

She denies that the head represents Creepy Joe. Yet the empty-eyed mouth-breathing stare does call Biden to mind:

On a tip from seaoh.

The phony, malevolent, and demented cultural decay that we know as moonbattery has brought us from Leonardo da Vinci to this:

Similarly, it has dragged us down from James Madison to Joe Biden.

Only if we reject moonbattery utterly and destroy it root and branch can we recover as a society.

On a tip from Jester.

Western Civilization is the pinnacle of human achievement. The goal of leftist politics is to erase it. No treasure of our heritage is too sacred for them to deface — not even Leonardo da Vinci’s Mona Lisa:

Two climate activists hurled soup Sunday at the glass protecting the Mona Lisa at the Louvre Museum in Paris and shouted slogans advocating for a sustainable food system.

They mean “sustainable” in the Orwellian sense — i.e., a euphemism for its diametric opposite. Specifically, if moonbats like sinister WHO communist Tedros Adhanom Ghebreyesus apply the word to agriculture, they mean “incapable of producing enough food to sustain the current population.”

The vandals wore t-shirts declaring their allegiance to Riposte Alimentaire. France 24 reports:

The Riposte Alimentaire (Food Retaliation) group describes itself as a collective dedicated to advocating for action on climate change and sustainable agriculture. On its website, the group said the French government is breaking its climate commitments and called for the equivalent of France’s state-sponsored healthcare system to be put in place to give people better access to food while providing farmers a decent income.

Within living memory, leftist attempts to apply Big Government to agriculture resulted in the death by starvation of tens of millions in China and the USSR.

“Climate commitments” are never compatible with food production or anything else that is beneficial to the human race.

Other iconic works of art that climate kooks have attempted to destroy include Sunflowers by Vincent van Gogh and Girl With a Pearl Earring by Johannes Vermeer.

Just as we need a clerk to unlock the cabinet at the drug store to buy a stick of deodorant because otherwise the Democrat base will shoplift everything on the shelf, soon all significant artwork will have to be viewed through reflections on protective encasements lest moonbats sacrifice the art to their depraved ideology.

At least the art can still be defended for now. Who will protect these irreplaceable treasures when the maniacs who want them destroyed consolidate control of the government? There is nothing of value that leftists will not demolish out of sheer malice.

On a tip from Wiggins.

Under the control of moonbats, museums are destroying not only our past but our present, by indoctrinating us to hate ourselves. Lindsay Shepherd shelled out $30 and bravely endured the Vancouver Art Gallery’s Conceptions of White exhibit:

The first thing to catch your eye is the giant phrase on the wall that reads, “When you’re the problem, we’re the solution.” The text is accompanied by a large headshot of a white male.

Tablets allow visitors to interact with an AI program:

“Stop talking. Never share an uninvited opinion again,” text on the wall reads. When you look into the tablet, a mute symbol is superimposed over your mouth.

“Check privilege. Learn whether you’re special or just lucky,” the text reads. Upon looking into the tablet, a halo that says “Undeserving” appears over your head.

It is unclear whether the AI knows the visitor is white or just assumes that only a self-hating white liberal would attend the exhibit.

“Get curious. Vocalize your own ignorance.”

The tablet prompts me to say aloud, “I know nothing.”

Now back to waging war on our history:

I walked by some schizophrenic ramblings and pictures on the wall about how because statues from Ancient Rome and Greece had curly hair, they were probably not white people.

After our history has been erased, liberal social engineers will replace it with their own version, as outlined in 15-foot-long timeline labeled, “An incomplete timeline of the circumstances that influenced the emergence – and evolution – of White racial identity.”

I learned that as a white Canadian born in the mid-1990s, my identity is defined by slavery, scientific racism, Rudyard Kipling’s 1899 poem “The White Man’s Burden,” colonialism, the Ku Klux Klan, the Third Reich, the “alt-right,” and Robin DiAngelo’s book White Fragility: Why It’s So Hard for White People to Talk About Racism.

The last items in the timeline of white terribleness were “2013: Black Lives Matter founded” and “2021: January 6 Insurrection.”

This confirms that the unscheduled tour of the People’s House is among the most significant dates in human history from the viewpoint of moonbats.

The final installation was a short film that purported to be about reflecting the “current state of White identity in America.”

What followed was a 30-minute compilation of internet meme videos spliced with scenes of racial violence, guns, and creepy staring.

As we learned in the Nazi days, ideologies grounded in race hate do not end well.

On tips from Barry A.

Museum curators are custodians of our culture. Alarmingly, it appears that most of them worship at the altar of the infernal ideology we know as moonbattery. So woke are some that in Minneapolis they literally attempted to conjure a demon:

The Walker Art Center held a pagan ritual geared toward families last weekend, with a performance called “Lilit the Empathic Demon.”

“Lilit” is a variation of Lilith, described on Wikipedia as “the primordial she-demon.”

Just as good is regarded as evil, all things evil are presented as nicey-nice by social engineers:

“Demons have a bad reputation, but maybe we’re just not very good at getting to know them,” an event description reads.

Libs have another reason to forbid reading from the Bible; it is demonophobic.

The event, which took place at the Minneapolis Sculpture Garden, was part of the Walker’s Free First Saturdays program and featured artist Tamar Ettun who creates “demon traps.”

Tamar Ettun’s “art” looks like it was created by a small child with development issues. But that makes no difference these days. The important thing is to be “transgressive” by sneering at whatever the liberal establishment commands us to hate.

The event was designed for families, and finished with a “playful demon summoning session.”

If drag performances can be family friendly, why not ceremonies conjuring demons?

No doubt goofiness made it hard to take seriously. Drag performances are goofy too. Yet exposing children to them advances the liberal agenda — speaking of which:

The Walker Art Center has received millions of dollars in taxpayer funds through Minnesota’s Arts and Cultural Heritage Fund, which routinely funds projects with a left-wing agenda.

On a tip from Chris Neilson.

The weather will be nice now. Moonbats have placated the climate gods by attempting to sacrifice a great work of art:

This took place at the National Gallery in London on Friday. The Wall Street Journal reports:

The protest was organized by the group Just Stop Oil, which aims to stop the U.K. government from engaging in new oil and gas licenses and projects. Metropolitan Police in London said the two protesters were arrested for criminal damage and aggravated trespass.

The gunk they threw on “Sunflowers” was evidently tomato soup. Al Gore meets Andy Warhol.

The Independent adds,

It is one of the most popular paintings in the National Gallery, and is thought to be the picture that Van Gogh was most proud of.

According to the museum, only the frame was damaged. But it wasn’t for want of trying.

Destroying a famous painting is as likely to improve the weather as any boondoggles Democrats have inflated American currency by wasting trillions of dollars on.

The actual reason for attacking the Van Gogh is that it is precious. The essential objective of leftism is to destroy what is precious: freedom, decency, dignity, innocence, holiness, Western Civilization, the human race, everything.

On a tip from Occam’s Stubble.

To understand what leftism does to every institution it infiltrates, look to modern art, which succumbed to moonbattery long ago:

The escalation from passing trash off as art to using trash to deface real art exemplifies the malicious mentality of postmodernism. Critical Theory — prominently including our state religion under Democrat rule, Critical Race Theory — is an outgrowth of postmodernism (see the recommended book Cynical Theories for details).

Postmodernists seek to “deconstruct” — that is, to disfigure, desecrate, and destroy. Note that they do the same thing to children’s bodies by deconstructing gender.

The Culture War is total war. The losing side will be eradicated. If we lose, Thomas Picton will never have existed — and neither will any art worth looking at.

On a tip from KirklesWorth.

We can’t be living in a black comedy, because no fiction writer would employ such ham-fisted symbolism, even for laughs. Consider the cross-dressing kook who attempted to destroy the Mona Lisa on behalf of environmentalism.

To protect against such psychos, the painting is encased in protective glass.

The protester – a young man disguised as an old woman in a wheelchair – attacked the glass and attempted to smash it on Sunday. One witness tweeted that the man proceeded to “smear cake on the glass, and throws roses everywhere” before being tackled by security.

As he was escorted out, the righteous young moonbat barked, “Think of the Earth, people are destroying the Earth.”

If one work of art symbolizes the cultural achievement of Western Civilization, it would be Leonardo da Vinci’s Mona Lisa, estimated to be worth up to $50 billion if it were sold at auction.

A person with mental problems, pretending to be disabled and therefore a victim, also pretending to be the opposite sex, attacks Western Civilization on behalf of an ideology that is coherent only in that it is homogeneously antihuman. This guy is liberalism personified.

Even the cake is a nice touch, especially considering that this happened in Paris — recalling “Let them eat cake” and reminding us how the radical left consists primarily of pampered, spoilt elitists now that it is the establishment.

If performance art really is art, he is as much an artist as the woke generation can be expected to produce. He has captured the spirit of our times.

On a tip from Blackjack.

What goes around, comes around. You might assume that no one could be more politically correct than unpaid workers at a Chicago art museum. But that didn’t protect them from being fired for being insufficiently “diverse” — i.e., for being white:

The Art Institute of Chicago (AIC), one of the world’s finest art museums, harbors (or rather, harbored) 122 highly skilled docents, 82 active ones and 40 “school group greeters.” All are volunteers and are all unpaid. Their job is to act as guides to the Museum’s collection of 300,000 works, which they explain to both adults and schoolchildren. I’ve seen them in action at the Museum, and they’re terrific.

Despite the position being unpaid, training requirements are rigorous.

Many of the volunteers—though not all—are older white women, who have the time and resources to devote so much free labor to the Museum. But the demographics of that group weren’t appealing to the AIC, and so, in late September, the AIC fired all of them, saying they’d be replaced by smaller number of hired volunteers workers who will be paid $25 an hour.

Paying the replacements will not result in more knowledgeable docents. But they won’t be Caucasian; that’s the important thing.

On tips from R F and Brian Brandt.

As documented in the book Cynical Theories, Democrats’ critical theory creed grew out of postmodernism. Postmodernism is doing to politics what it did long ago to art. Having pushed the postmodernist envelope as far as they could in every other direction, an artist has resorted to openly admitting that art has been reduced to a scam:

A Danish artist was given $84,000 by a museum to use in a work of art. When he delivered the piece he was supposed to make, it was not as promised. Instead, the artist, Jens Haaning, gave the Kunsten Museum of Modern Art in Aalborg, Denmark two blank canvases and said they were titled “Take the Money and Run.”

They expected him to literally use the money in the piece, as he had done in previous work. But Haaning has better uses for it.

This may be the biggest event in art history since 1917, when Marcel Duchamp purchased a urinal, turned it upside down, signed it “R. Mutt,” and submitted it as an artwork entitled Fountain to New York’s Society of Independent Artists.

We will know that moonbattery has begun to recede when art once again requires skill rather than gall.

On a tip from Franco.

In the video below, Paul Joseph Watson explains how the previously mentioned Salvatore Garau has applied a tactic called “artistic obscurantism” to rake in money for nothing. This technique bullies the weak into going along with his scam lest they seem unenlightened, while jacking up the perceived value of literally worthless “art.”

Maybe there is more to nonexistent art than a scam. Unless he believes his own BS, Garau really is an artist, and not only a con artist, in the sense that he reflects an important truth about the times we live in. As PJW puts it,

“What does it say about the vacuousness of our times that 500 years after the jaw-dropping majesty of the David statue, our generation’s David is a banana gaffer-taped to a wall? Does Salvatore Garau have any self-awareness? Is him cashing in on literally nothing a genuine work of comedic performance art? According to Garau, his art represents a perfect metaphor of our days. Couldn’t have put it better myself.”

Academia has applied the obscurantism approach to even more pernicious effect, at a vastly higher cost borne by not only willful dupes but the entire public. It is harder to excuse liberal arts professors on the grounds that they could be passing off nonsense as wisdom to make a deliberate point.

On a tip from KirklesWorth.

In 1917, French artist Marcel Duchamp purchased a urinal and submitted it to the Society of Independent Artists as his own work of art. This is said to have “changed art forever.” To this day, artists continue to scam fools by retelling minor variations on Duchamp’s lame joke. The latest iteration is an artwork by Italy’s Salvatore Garau, which sold for $18,000 despite not existing.

If Duchamp was right that anything can be art, then it stands to reason that nothing can be art. So that’s what Garau creates. A recent sculpture is entitled, “I Am.”

Italy 24 News reports:

The work was sold for 15 thousand euros in the auction organized by Art-Rite, one of the rare Italian auction houses that deals with “sessions” dedicated exclusively to contemporary art.

For the money, the buyer got a certificate of ownership of the nonexistent artwork.

The immaterial sculptures by Salvatore Garau – who had already exhibited his installation “Buddha in contemplation” last February in Piazza della Scala in Milan – “have a new historical value and represent a perfect metaphor of our days”, reads a note. The work “is completely invisible and cannot, therefore, be reproduced on the network. Not to mention that Garau’s intangible works have zero environmental impact”.

Garau explains his work to those who don’t have a college degree in art appreciation:

“The void is nothing but a space full of energy, and even if we empty it and nothing remains, according to Heisenberg’s uncertainty principle that nothingness has a weight. It therefore has energy that condenses and transforms itself into particles, in short, in us! When I decide to “exhibit” an immaterial sculpture in a given space, that space will concentrate a certain quantity and density of thoughts in a precise point, creating a sculpture that from my title alone will take the most varied forms.”

The effect of moonbattery on Western art is now complete. First it insulted and debased art (e.g., Duchamp). Then it rendered art incompetent (e.g., Jackson Pollock, Jean Dubuffet, Willem de Kooning). Now it has erased art altogether. It is likely to have a similar effect on every other aspect of civilization.

This could be good news when it comes to the federal government. After the debasement of Obama and the incompetence of Biden, maybe it will disappear altogether, leaving us with only state and local governments, from which we might actually derive some benefit.

On tips from Franco and ABC of the ANC.

The reason America’s decline has been so precipitous, taking us from Ronald Reagan to Joe Biden in less than half a century, is that the country is not falling on its own. It is being pushed. Progressives promote our national decline wherever they have established hegemony, nowhere more blatantly than in the arts and education:

A painting of a Minneapolis police station going up in flames won a recent award from a student-run art magazine at Valparaiso University.

As you might expect, the painting looks like a little kid did it.

“Order is Not Justice,” a work by Sam “Doc” Janowiak, received a first-place award in the annual “Artivism” contest run by The Lighter, a campus magazine featuring promoting poetry, short stories, and visual arts.

Evidently there are no grownups at Indiana’s extravagantly pricey Valparaiso University to point out that savages burning down a police station in honor of a criminal is not an event to celebrate.

The announcement of Janowiak’s award on Instagram was “liked” by the Valparaiso Department of Communications, several fraternities and sororities (Janowiak is a member of Sigma Phi Epsilon), and a number of student government accounts.

What we celebrate, we will get more of.

Hat tip: Legal Insurrection.