New York Times: Black Art Has Its Moment, Finally

November 27, 2019 Hunter Wallace Negroes, Race Relations 24

It’s a masterpiece.

New York Times:

“What made the 2010s the most thrilling of all the decades I’ve spent in the New York art world was the rising presence of black artists of every ilk, on every front: in museums, commercial galleries, art magazines, private collections and public commissions.

During this exhilarating sea change new talent emerged, older talent was newly appreciated and the history of American art was suddenly up for grabs — and in dire need of rewriting.

Two years later came Kara Walker’s amazing installation at the Domino Sugar factory in Williamsburg. Titled “A Subtlety, or The Marvelous Sugar Baby,” it centered on a monumental, brilliantly white (because it was sugar-covered) sphinx with the head and breasts of a black woman that was majestic yet sexualized. Its caustic subtitle spelled things out: “a homage to the underpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant.” …”

Kara Walker is the black female Michelangelo of our times!

About Hunter Wallace 12392 Articles
Founder and Editor-in-Chief of Occidental Dissent

24 Comments

    • Hahahaha-haaah! What a hideous atrocity. I couldn’t have come up with anything more insulting to the Negroes if I tried. Maybe this is an elaborate prank being pulled on the liberals?

      • They are too damn dumb to even realize that… until the Jooos tell them so…

        “I want to pause and circle that “semi-literate” tag we get whenever we read about Marx’s mother. It is supposed to divert you from realizing who she really is. Being semi-literate implies she is from a low- class family of scullery maids or something, when the truth is she is from a family of millionaires. They just trust you don’t make the connection I did, going “so these millionaires are semi-literate?” I encourage you to make that connection, because it explains a lot. For a start, it explains why these super-wealthy families who now run the world care nothing for real art, literature, poetry, or music. They have destroyed all the old high arts and sciences, keeping only the lowly economics. The upper class they displaced—the real aristocrats—always honored art and artists. They scoured their domains —even the countryside and the towns of the poor—searching for the most talented artisans and artists. But the nouveau-riche industrialists killed that tradition, instead inserting their own talentless children into the all the artistic venues and jobs.” – http://mileswmathis.com/marx.pdf

  5. I’m supposed to give up Renoir, Vermeer, Sargent, Winslow homer, the great Asian artists for this? A giant rear end mooning space?

  6. Read the commentary and reviews about this monstrosity. It is all urban bugmen and bourgeois costal elites raving about the profundity. I am wondering how much of it is either sincerity, delusion, or a sense of obligatory reverence.

    I just left a similar Manhattan urban art installation and it was akin to the scene from “Always Sunny Philadelphia” where people fawn over the janitors slop bucket, claiming “brilliance” and “a vision of dystopian proletarian existence”… When in reality it is the tool of a small Salvadoran man trying his best to pick up after these dolts

  8. Unbelievable! There really is something uglier than a photo of Harriet Tubman. This abomination is very hard on the eyes. I had to put some Refresh artificial tears in them after looking at it. Given what they see as a work of art, is it any wonder why some many of us see Blacks as a subspecies of humans.

  9. All this is supported by blue State lunacy on the part of white liberals and financed by those who must not be named assuming their traditional role of a hostile elite within a host society.In other words comprising a Judeo-Liberal Collation or JLC.

    • Remember, Art is just a guy’s name. I bet there is Federal money behind this “art” project. Who paid for this shit? Follow the money, follow the money.

      Here’s the theme for all of these black “art” projects: I’m blackety, blackety, black. I’m blackety, blackety, black. I’m blackety black, blackety black, I’m blackety, blackety, black, mofo.

  10. J. J. Walker – “DY-NO-MITE!”

    Herbert Morrison – “Oh, The Humanity!”

    Col. Walter E. Kurtz – “The Horror… The Horror.”

    Al Bundy – “PEG! I’m Blind!!!”

    Suddenly, by way of comparison, The Bullfighter on Black Velvet becomes the epitome of high art and cultural refinement.

  11. No doubt the “artist” received funding from the National Endowment for the Arts. So how much did the privileged white taxpayer have to fork over for this?

  13. This is how low IQ these people are.

    They place a Michael Angelo’s imitation statue of one of his greatest and most recognizable statues ‘David’, next to their “creation” which is nothing more then a play on the Sphinx theme that highlights all the primal sensual attributes of their race.

    In other words, Our statue of Michael Angelo’s David with its pose its symmetry and the human body aesthetic in an Olympian manner, highlights Man’s mind and spiritual advancement to an enlightened being, looking UPWARDS as the statue shows.

    And theirs is a debasement of the human form, that highlights the most animal urges of humanity.

    And these LOW IQ humans cannot even see the irony in their attempt compete with Michael Angelo’s masterpiece!

    That is all we need to see and understand that they are a different human species!
    The can NEVER be like us and actually CREATE.

    And if you think I’m exaggerating about the ‘different species’ comment, then you need to ask yourself why medically you almost cannot transplant the organ liver from a black man to a white European man and why in blood transfusions we white Europeans can accept the blood type of our group but negroes are limited to the universal types of blood !!

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