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Feb. 17, 2021 - Radio Renaissance - Jared Taylor
09:08
Art Is a Weapon
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Hello, I'm Jared Taylor with American Renaissance.
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Percy Bysshe Shelley once claimed that poets are the unacknowledged legislators of the world.
That was back in 1821, when that idea didn't sound as ludicrous as it does today.
But I was reminded of Shelley because the black artist Kehinde Wiley is back in the news, if not as a legislator, at least in a very political role.
As you may recall, he's the lad who painted President Obama's official portrait.
Well, Mr. Wiley often likes to spoof iconic Western paintings.
Here's a version of Jacques-Louis David's Napoleon, but with a black man wearing a do-rag and work boots in the place of the emperor.
Here's another black man, striking much the same pose as a white man in a famous painting.
Mr. Wiley never paints white people, with a few curious exceptions.
He's done some charming canvases that he calls, in his words, sort of a play on the Kill Whitey thing.
This black woman has just carved off the head of a white woman.
The painting hangs in the North Carolina Museum of Art, which calls it...
An image of a courageous, powerful woman that resonates with fury and righteousness.
Here's another image of a courageous, powerful woman that resonates with fury and righteousness.
This one was displayed in the Brooklyn Museum.
Well, it happens that several years ago, Mr. Wiley was in Richmond, Virginia, where he saw a statue of Confederate General Jeb Stuart.
Did he admire the image of a courageous, powerful man that resonates with fury and righteousness?
Oddly, he did not.
Stewart is holding no severed black heads, but Mr. Wiley reports that he was filled with fear and dread.
And so, to even the score, Mr. Wiley decided to follow his usual pattern and make a black man's version of Jeb Stewart, which, just a few days ago, was unveiled in Times Square.
The pose of horse and rider is similar, but the rider...
Has dreadlocks in a ponytail and is wearing a hoodie, jeans torn at the knees, and Nike high tops.
Here's a better look at the hoodie and the dreadlocks.
At the unveiling, there was a performance by the Malcolm X Shabazz high school band and dance team.
The occasion does not appear to have been a celebration of diversity and inclusion.
The statue will be in Times Square until December 1st, when it will be moved permanently to Richmond, where it will dominate the entrance to the Virginia Museum of Fine Arts.
I'm sure it will look right at home there.
The museum, by the way, is on a main,
Well, Mayor Stoney...
was in New York, by the way, for the unveiling of the Wiley statue.
At that time, he said, "We have ten Confederate monuments in our city, and I think that's ten too many."
Virginia happens to have a state law that prevents removing monuments.
Otherwise, you can be sure that in a city that is only 38% white, Richmond, they'd be gone long ago.
As you know, it's not just Confederates who have had to go.
Justice Roger Taney had to leave Baltimore because he was a bad white man.
Stephen Foster had to clear out of Pittsburgh because there was a happy black man at his feet, which made Foster a bad white man.
Napoleon Broward, who gave Broward County its name, had to go from the Broward County Courthouse because he was a bad white man.
The mascot of Cal State Long Beach, Prospector Pete, had to go too.
He wasn't even an actual person.
But the prospectors who went on the gold rush were all bad white men.
Senator Tom Watson of Georgia was kicked off the statehouse grounds because he was a bad white man.
There are bad white women, too.
A statue of Kate Smith had to be removed from Philadelphia Flyer Stadium because 80 years ago she recorded songs with lyrics that are now considered racist.
I could go on and on with this stuff.
Columbus, by the way, is a target for elimination because he was a bad white man.
And this is a worldwide trend.
Just as an example, the Cecil Rhodes statue at the University of Cape Town had to go because Rhodes was a very bad white man.
But let's get back to American artists.
Kehinde Wiley is actually rather mild.
As usual, it takes a white man to achieve true heights of viciousness.
In September of 2016, an artist named Cleon Peterson was commissioned to paint a huge 500-square-meter mural right at the base of the Eiffel Tower.
It's not entirely clear from this angle what it's about.
From above, you'd get the full picture, but let's make the painting even clearer.
As you can see, at the center we have a black man and a white woman smooching, with blacks and whites dancing around them.
But this is very unusual for Mr. Peterson.
He doesn't have blacks ordinarily kissing whites.
What he does is have them kill and brutalize whites.
Here's a typical example of black on white mayhem.
Note the beheading in the lower right.
This is a huge canvas of blacks in police uniforms attacking white men and women.
Every attacker is black and every victim is white.
Stop the video and take a closer look if you need to.
Here's yet another gang of blacks brutalizing whites.
Men, women, everybody's fair game.
Occasionally, you have black people tearing each other apart, but so far as I can tell, Mr. Peterson never lets his white people attack blacks, or even fight back.
Believe me, there are loads of this stuff on exhibit in museums and for sale in art galleries.
And the artist?
He calls himself an L.A.-based artist whose chaotic and violent paintings show clashing figures symbolizing a struggle between power and submission.
It's pretty clear who's in power and who must submit.
And when it comes to artists who wish they were legislators, Donald Trump has certainly been an inspiration.
Here's a lovely creation that was displayed in the front window of an art gallery in Portland, Oregon called One Grand Gallery.
There was originally a word in the whited out part.
It was a single syllable that begins with the letter F. And here is our president with an armload of money giving the Hitler salute and vomiting excreta.
A real beauty, isn't it?
And there was a lovely video shown as art at the Yerba Buena Center for the Arts called"Why Don't We Murder More White People?" Here's the explanation that was posted next to the screen at the Yerba Buena Art Center.
The video was about non-whites talking about how awful white people are.
This is more subtle.
It's called"A Tale of Two Hoodies." The sweet-looking black boy offering the Klansman some"sweeties" instead of"skittles" is supposed to be Trayvon Martin.
And note the Confederate flag bursting through the American flag.
The message is clear: white people are pretty awful.
And that's what this is all about, isn't it?
White people are awful.
There have certainly been nasty caricatures of blacks.
And during the Second World War, they were anti-Japanese caricatures.
But this sort of thing was never thought to be art.
It certainly never hung in museums.
What's happening today has never happened before.
Museum-goers are supposed to stand before paintings that show whites being killed and degraded.
They are to listen to Hispanics explaining why they hate white people and to believe that they are experiencing art.
White people are supposed to be horrible racists, but I know of no images of degradation against non-whites that were ever considered high culture.
At the same time, we remove sculptures of heroic whites because, like just about every white person who ever lived, they were racist by today's standards.
They will be replaced by new heroes who are never white.
This is happening while whites are still a majority.
Albeit a whipped, psychologically enslaved majority.
This is where capitulation leads.
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