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Riki R. Nelson, Girl in a Box, Girl in Cherry Silk, from the Saatchi Gallery,
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Occidental Observer 1/30/2015
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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Occidental Observer 1/30/2015
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.
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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.
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.
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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-ArtII.html
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