Aherne: Modern Art and Jews

Modern art is the product of an old trend in fine arts that began in mid 19th century as a rejection of realist paintings by self-described "revolutionaries" who claimed they were able to give art more "inner sense". Impressionism, expressionism and finally modern art form an unbreakable continuum where one may easily see how by each generation art started to look like the products of a demented mind, all in the name of "imaginative originality" reacting against "realistic convention". Being devoid of aesthetic value (thus not an art), modern art cannot breathe alone and needs publicity, coverage in order to attain ephemeral glory. Before this development, nobody had any difficulty pointing out what art is: pictorial, sculptural or musical illustration driven by aesthetic principles of beauty, order, simplicity and insight. Today, however, art is used to designate its very negation, hence the need to summon an army of critics rationalizing its lack of value as a sign of transcendental sense available only to a chosen few such as themselves.

To be able to please critics, the ultimate figures given the sole right to discriminate art from fraud, modern artists have to fashionable and sport political messages. Artists in the past also had to pay tribute to such considerations, but what makes the difference is that a modern artist’s “work” is just an empty canvas painted by critics’ words: it holds no objective existence outside the closed realm of latter’s specious word games. A literal example was an "artwork" I've seen personally, which consisted of nothing more than a wooden frame, with a "deep" title underneath (something like "existence and being" sorts of). One only has to wonder how the “artist” who produced this garbage obtained his place in this exhibition…

This symbiosis between art and critics casts a beautiful light upon their similarity in character, which is centered upon a lack of scruples inherent of living by deceit.

Modern artists, talentless by definition, belong to two genders: those who achieved fame thanks to positive critics and those who were less fortunate, certain of how their superior artistic innovations weren't fairly understood. They are an unusually decrepit folk, excelling in all vices and even taking pride in their total lack of virtue (which in their mind is inherent of being an “artist”). Their greatest concern is running out of “luck”, which in their case means being forgotten by critics. To be able to keep critics singing, an aspiring modern artist must be able to have “fuel”: money, sex, influence or whatever he/she requires.

Critics are just as dependent on modern artists, without whom they would be out of business. True art is in no need of critics to exist: Van Eyck, Bach or Michelangelo were artists long before a guild of critics was to appear. Although critics’ situation might appear privileged, they are subjected to same rules of survival as artists: they must always be ready to lie, bribe and push others away to advance on the social ladder. But above all, critics need to be “politically correct”, sporting the right “progressive” political persuasion which justifies the “art” they praise.

The fame of modern art and the undeserving attention it receives are a direct product of its counter-cultural nature as well as its socialist tendencies. Modern art, even when performed by gentiles, breathes through the lungs of Jewish critics, Jewish curators and Jewish financers. Jewish involvement in modern art is primarily political, as means to uproot our culture without keeping themselves in the spotlight. As creatures devoid of higher qualities (such as love of beauty), Jews feel right at home with its chaos and hideousness, which is why they are preeminent as "artists", but even more preeminent as curators, critics and propagandists. Modern art, while not Jewish in origin, rests entirely on Jewish shoulders...

More on Jewish sponsorship of modern art here:
http://www.jewishtribalreview.org/26art.htm

Examples of modern art
"It depicts a small plastic crucifix supporting the body of Jesus Christ submerged in a glass of the artist's urine." Very well received among New York critics. "It is referred to in many popular publications including Bill Maher's (JEW) book When You Ride Alone You Ride With Bin Laden."
http://en.wikipedia.org/wiki/Piss_Christ