Abstract Art Monstrosity on Display in NY

JULY 11, 2022

NY Times: Beyond Abstract Expressionism: MoMA Rethinks the Art of the 1950s

A selection of 79 drawings from the collection recasts the most celebrated decade in American art as less American.

REBUTTAL BY

The House of Horrors in Marxist Manhattan commonly referred to as "the MoMa" -- short for Museum of Modern Art -- is currently featuring a collection of insane-asylum-caliber ink droppings from the 1950s. The exhibition -- predictably hyped by Sulzberger's Slimes -- is titled “Degree Zero: Drawing at Midcentury.” The wretched etchings of this shit-show on paper were, we are told, "selected with great care" by Samantha Friedman (cough cough -- surprise surprise) -- the associate curator of drawings and prints for the MoMa.

Now there are indeed those captive subjects of the tyrannical overlapping kingdoms of Normiedom & Libtardia who truly do get excited over this sort of "elite"-sanctioned excrement. You know -- the same bunch still wearing masks, getting booster jabs, and flying Ukrainian flags. But there is a deliberate method to the higher Marxist / Frankfurt School madness behind its promotion. It is a self-evident truth that "Modern Art" has always been aggressively promoted by all of the various tentacles of the New World Order crime gang -- including the Communist Party USA. And when St. Sugar and I, er, "The Editorial Board" of The Anti-New York Times throw out a term like "self-evident," we don't use it as a rhetorical ploy like the slimy scribblers of Sulzberger's Slimes do. No sir; we actually mean that it is an indisputable fact -- Google: (CIA & Modern Art: here) -- (Communist Party & Modern Art: here) -- (Rockefeller Family & Modern Art: here) -- (Rothschild Family & Modern Art: here) -- (Soros Family & Modern Art: here) -- (The United Nations & Modern Art: here) etc., etc., etc. Add to that high-powered list of direct financial "patron of the arts" the Sulzberger-Ochs Family -- whose "paper of record" has long puffed-up creepy charlatans such as the openly Stalinist Pablo Picasso and the madman Jackson Pollock.

So, what exactly is the greater game here?

1. James Lee Byars, “Untitled” from 1959 // 2. Toshi Ichiyanagi’s “Music for Electric Metronome,” from 1960 // 3. Jean Dubuffet’s “Landscape,” from 1951

The hidden agenda behind this century-old movement (proudly referred to as "anti-art" by its early Marxist practitioners (here)) to replace the good stuff with neurotic garbage benefits the Globalists. You see, boys and girls, Modern Art -- just like much of Modern Music, Modern Literature, Modern Science etc. -- distorts and perverts the appreciation and understanding of the good, the true and the beautiful. Convince the notoriously vain "intelligentsia" in any given society that up is down, black is white, crap is gold, gold is crap, men are women, women are men, etc, and soon you can sell these "educated" chumps anything. From there, the seditious sewage will eventually flow downstream for "the masses" to imbibe -- and then it also serves as a lucrative money making / money laundering operation to boot. There is no right and wrong because truth, like Einstein's "curved universe" (rolling eyes) and his "time warps" (rolling eyes) is all about "relativity."

The essence of "modernism" is to suppress one's own God-given instincts, and then choose to believe in nothing, unless the "powers that be" (cough cough) instruct and authorize you to believe in something, that is. Ever notice how most of the main characters of modern literature and film are usually not heroes like those of yesteryear? The protagonist these days is typically a mentally conflicted hybrid weirdo -- neither good nor bad. Likewise, the modernist painter or sculptor is not at all concerned with beauty and truth. To the modernist, truth is only a point-of-view which aimlessly drifts with the polluted tide of "popular opinion" ™ -- that manufactured dogma which is nothing but a mass psychosis engineered by the usual suspects. In literature and art, and even "theoretical science," there is now a complete rejection of truth and beauty. Heck! Even the Poop Francis of the "modern Vatican" refuses to call sin by its rightful name. Although the Argentinean ass-clown did indeed pass very strong judgements against Global Warming ™ and xenophobia ™, but we digress.

1. “New City,” Dorothy Dehner, from 1953.. // 2. Joong Seop Lee’s “People Reading the Newspaper,” 1952.// 3. Elizabeth Bentley was a Communist spy who had originally been corrupted at Vassar College during the 1920s. She later saw the light and tried to warm Americans about the Red Menace and the extent of its penetration. Among many astonishing revelations, she testified that Communists were under instructions to promote "modern art."

In the final analysis, a people that can no longer distinguish truth and beauty from falsehood and ugliness, is a people that is ripe for all manner of political deception, oppression and enslavement. Once normies have been convinced, by authoritative proclamations, to believe that shit is "art" -- then it's only another hop, skip & a jump to having them believe that mountainous steel-frame skyscrapers can instantly transform into powder, dust & aerosol due to "jet fuel fires" -- or that a common cold is a deadly "Global Pandemic" necessitating the destruction of livelihoods, perpetual muzzle-wearing, and vaccinations -- or that CO2 can cause the Antarctic ice-sheet to melt down -- or that gender is a choice. Get it?

That is why Modern Art is the art-of-choice for the cultural vandals behind the New World Order --- and it is also why The Great One, (that's Hitler for you newbies and normies) a talented painter himself (see examples below), protected his people from this massive financial and psychological con-game that is still being played today.

Given enough time, this is the type of idiot that "Modern Art" will help produce.

***

Boobus Americanus 1: I read in the New York Times today that MoMa is featuring an exhibit of abstract expressionist ink drawings from the 1950s.

Boobus Americanus 2: The drawings must be really good to have withstood the test of time like this.

*

St. Sugar: Look at my frickin' sself-portrait, everybody! I sslaved over it for all of 30 ssecondss. Can I get ssome shekels too?

Editor: Definitely refrigerator-worthy --- but stick to editorializing.