Apply moonbattery to politics, and you could go from Thomas Jefferson to Kamala Harris. Apply it to sculpture, and you could go from Michelangelo to this:
NEW: Huge bronze "poop" statue based on Nancy Pelosi's desk was installed on the National Mall near the Capitol in DC
The statue has a permit from the U.S. Park Service to remain on the National Mall until the end of the month
National Park Service-approved bronzed statue of House Speaker Nancy Pelosi’s desk on Jan. 6 that includes a pile of poop and an obviously-satirical plaque that in part “honors the brave men and women who broke into the United States Capitol” is now on display on the National Mall in Washington, D.C.
Like journalism, art has been reduced to tasteless left-wing propaganda.
A cast of Donald Trump’s head was recently used as an unconventional soccer ball … all in the name of art. …
[W]hat appears to be a rubber or latex object shaped like 45’s dome was kicked around at an exhibit at Superchief Gallery in Los Angeles last weekend.
Considering this openly violent attitude toward our former and hopefully future president, it isn’t surprising that tolerant liberals keep trying to kill him.
Meanwhile, at a different art exhibit in Los Angeles … a statue of a nude Trump with his genitals chopped off is on display at Subliminal Projects Gallery.
Now the punchline: the exhibit consisting of kicking Donald Trump’s severed head was intended to castigate Trump for “spreading hate.”
An “art exhibit” in Los Angeles designed to protest against Donald Trump “spreading hate” featured participants kicking around a soccer ball shaped like the former president’s head.https://t.co/2WjAOsfPZm
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:
Laramie Not Sad To See Giant "Joe Biden" Head Go
A giant 13.5-foot-tall human head sculpture commonly called the “Joe Biden head” near a busy intersection in Laramie will be removed in May. And locals say it won’t be missed. https://t.co/yxgzPx5AaE
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.
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.”
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.
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.
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.
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.
