Douglas Mercer
September 14 2022
There's a new "art" exhibit up in The Great White North and it's ragging on White people, those Canucks are some of the biggest cucks you get, it seems like the further you go into the Great White North the more White people get bagged on. Ironic, that. This "art" exhibit, as you would expect, was put on by some intellectual insects, and it's very high minded mind you know, all very conceptual and airy fairy and "big picture thinking," they have their heads in the clouds for sure, that is when it's not up their ass; but don't let that abstract garbage fool you, they are taking dead aim at the White race every bit as much as the guy in Memphis who was caught on tape saying he was "fixin' to shoot an old White lady"; indeed, it is two sides of the same coin, they are in cahoots: one mentally strips down everything about Whiteness, goes for the history and the traditions of White people, the other seeks to blast some heads off.
Both deserve our undivided attention.
The "art" exhibit is called Conceptions Of White and a more disgusting spectacle is scarcely to be imagined. It's guys in berets or Prinz-Nez and female maven scissor sisters from Bryn Mawr walking around saying "why yes, White people are evil." And the craziest thing about that is that a lot of them are White themselves (and thus should know better); of course a lot of them are Jewish too, but what they all are are intellectual rodents and pests.
"White people, the white cube and white guilt are some conceptions of white addressed by the eponymous exhibition at the MacKenzie Art Gallery in Regina. Co-curated by the gallery’s director, John G. Hampton, and Lillian O’Brien Davis, curator of Toronto’s Gallery 44, the construction of white as a neutral default is revealed as an insubstantial phantasm that is not so much dismantled as vaporized."
Into thin air! The best race, the master race, the great race, the White race which has endured the millennia and singlehandedly caused an explosion of culture and vaulted into the stars--this amazing race is (they say) smashed to smithereens and ground in to a fine and insubstantial dust by some pretentious twits and posh society artists mounting a degenerate display of banalities; these are people who are "street" artists or who have PhD in Worthless Preening and they put up a few pictures of Reinhard Heydrich to mock Aryanism, or a White statue alongside a black doo dad and they tell themselves, and the world, that not only have they taken Whiteness apart they have blown it to bits.
They are going to have to do a lot worse than that.
"An Exhibition that examines the myths and meanings behind the idea of a white race –a relatively recent invention that helped shape the modern world.”
The idea of the White race being the operative terms in their attempts to dissolve it--the idea that the White race is only an idea, a phantasm of evil minds that can be blown away like dandelion spores or vaporized with the high-tech equipment of soy boys sipping lattes. It's true that it wasn't until quite late that White people began to conceive of themselves specifically as White people--perhaps too late--but they want to make more of that than is there. They want to say that prior to that self-conception White people did not exist--and what is more--they don't exist now. How about that, how convenient, the pretentious insects make a category mistake. The White race is not an invention--it has existed time out of mind; if it took our racial self-consciousness time to catch up with the reality--it surely doesn't mean the reality is just an idea. Self-consciousness and self-conception is always the final and crucial stage to vaulting to the next stade (the stars). But these over-educated and badly mis-educated termite's stock in trade is juggling with words to cow the average White man in to thinking his race is only a conception---the conception of Whiteness--and an evil one that.
They are going to have to do a lot worse than that.
"Conceptions of White is an exhibition offering context and a nuanced perspectives that help viewers grapple with contemporary configurations of white identity. The exhibition examines the origins, travel, and present reality of whiteness as a concept and a racial invention that classified degrees of civility/humanity."
Got that? The language is ersatz and Rube Golberg-esque but to be fair it sounded better in the original gibberish before it was translated in to gobbledygook. Not much better though, it was the same low octane nonsense.
"Select historical objects and artworks will illustrate white origin myths within their historical context, revealing whiteness as a North American, settler-colonial invention of the seventeenth century, created alongside Blackness and Aboriginality."
It's true that man proceeds by contrasts, and prior to the White man descending in to the New World--and tragically (for the White man) trailing the black man in his wake---White people had not the great and constant occasion to consider himself White, nor to compare himself to these lesser races. But here on purpose they let the terms overtake what they describe and say that these races and these are inventions rather than descriptions.
That is they failed basic language Philosophy 101. And they are artistic termites. Is there anything more dishonest than PhD on an ideological mission of obfuscation?
"The contemporary artists in the exhibition will complicate this historical foundation by examining how these acts of racialization are felt today through concepts of white guilt, supremacy, benevolence, fragility, and power."
Out they trot the buzzwords of the day. A noun. A verb. White something or other---irony is that these are the inventions, these are the conceptions that overlay something better. White Supremacy surely existed but White Supremacy (as a bogey word connoting the highest form of evil) is a recent coinage means to startle the women and the horses and scare small children in to submission.
"These artists force us to confront the ideology of cultural erasure embedded in the social construction of whiteness, the ramifications of its continually expanding borders, and the resistance facing this relatively young theory of racial categorization."
In addition to being a clear and present danger to the future prospects of the White race this is a cesspool of pretentiousness.
"Together, the diverse narratives, images, and concepts presented in Conceptions Of White will examine the existential, experiential, and ethical dimensions of engaging in classifications of whiteness, while also drawing on the conceptual linkages between colonial whiteness and the aesthetic, social, and philosophical meaning we ascribe to the color white."
This is the worst kind of artistic boosterism combined with unalloyed drivel. It is a throwing out of high-sounding words without recourse to any meaning. It is stilted and unwieldy and takes academese and jargon to it nadir. It is verbal fairy dust which is itself vaporized from the jump. Not only is there no there there there's no there anywhere.
Any questions?
***
Curator John Hampton, the first Indigenous director of a major public gallery in Canada Hampton said he became in interested in his own relationship to whiteness--so begins the sorry tale of this exhibition, an Indian contemplates Whiteness and pretty soon Whiteness become "unbearable" and "problematized" and pretty soon anathematized.
Who gave this ignoble savage the keys?
You can see these things coming from a million miles away.
When an Indian gets the full backing and imprimatur of the art establishment in a cucked up country and gets the green light to examine the White race be sure that nothing whatsoever good can come from it.
You will be sure to get installations called White Man's Burden and Free White And 21.
You know for sure that Aryanisn will be in the dock.
"Chan’s project points to the inherent biases in facial recognition, its use to criminalize certain people, and so-called scientific racism of the 18th and 19th centuries. Aryan Recognition Toolkit compares viewers’ faces to a dataset of dozens of photos of Nazi SS commanders in a canny inversion of the pseudoscientific precepts of phrenology and eugenics, which falsely posit that character, intelligence and criminal tendencies have physical analogues."
Of course facial recognition is one of their current bête noirs. The fact that AI can recognize race is problematic for a side that likes to say it trusts the science and who say races are fake.
"If police are authorized to deploy invasive face surveillance technologies against our communities, these technologies will unquestionably be used to target Black and Brown people merely for existing."
Merely for being criminals is more like it.
"For years, racial justice and civil rights advocates had been warning that this technology in law enforcement hands would be the end of privacy as we know it. It would supercharge police abuses, and it would be used to harm and target Black and Brown communities in particular."
And most of all they don't like it when not only can the machines instantly tell the differences between Whites and the rest, the machines also prefer the White as when they had AI judge a beauty contest and the Whites won. Which other race would an objective observer pick?
As for intelligence and criminal tendencies having "physical analogues," that's true, though "genetic" would be the most appropriate word.
But they think they'll throw up such a scare word like Aryan and beat people into submission into believing their non-science and drivel.
"Love and Loss in the Milky Way recognizes how whiteness supported the emergence of capitalism and industrialization. Porcelain replicated in milk glass and statues reduced to tchotchkes are arranged in a tabletop vista. The distinguishing features and hairstyles of the chalky plaster heads, busts and nudes meld into the uniformly creamy topography of ornamental dishware. This spread of opalescent splendor is punctuated by the black-glazed face of a ceramic mammy cookie jar at the head of the table – not a person but simply a vessel for dispensing comfort food."
This one is a shame, they could have got rid of the Aunt Jemima Head and the black knick-knack which scars the pure Whiteness of the piece and called it Pure Love In The Milky Way and they really would have had something. It could have been a paean to the fact that it was those sweeping alleles which allowed for milk drinking and let those Aryan bronze age riders fan out across the world in an unprecedented and unreplicated explosion and led to the White dominance of the world which peaked circa 1920 and has been on a vertiginous fall ever since. Instead, they have a dry and arid think piece about nothing at all.
"The three-panel label for Powers’ 1843 sculpture narrates a fascination with the invention of the Caucasian race as synonymous with white. Purportedly addressing the Greek War of Independence, Powers’ slave is notably white, crafted to appeal to buyers on both sides of the American abolitionist movement."
Notably White indeed, what other race would it have been? This was recent history after all, a true depiction of a White woman being made a slave by an alien race.
"A Greek woman, captured by Ottoman forces during the War of Independence, had been stripped and chained for sale at a slave market in Constantinople."
This of course runs counter to the nefarious narrative of today, that only White people had slaves, when slavery existed everywhere always since both time immemorial and time out of mind. How many current statues are going up with figures of black slaves and nobody thinks to mock them and say there are "notably" black; no, but a depiction of a White slave is seen as part of the "invention" of Whiteness.
"The curators have created a wealth of witty new ways to understand Portal: a stark, white, angular and monolithic sculpture by American artist Robert Morris. Echoing the supposedly neutral architecture of the gallery, his Minimalist doorway speaks volumes about inclusion and exclusion. Portal viscerally reproduces the sort of normative body that was the default 60 years ago – slim, white, male, able – in the void at its center."
That is the healthy White male--productive and enterprising--the only thing that has ever moved the world from its inertia and stagnation--is seen as oppressive and evil and is associated with being generic and empty and void-like. This is what they mean by vaporization.
"American artist Arthur Jafa’s 30-minute video montage, The White Album, is masterfully assembled from publicly posted videos. When the discomfort evoked by a man in a polo shirt staring down the camera while silently loading and unloading ammunition clips from his automatic weapon becomes too much, Jafa cuts to another tone of discomfort, such as a flash-mob dance by techno-goth teens. The video, a long watch, requires an even longer period of thought and reflection."
Not really, a nanosecond of thinking will do and it's not even really thinking so child-like and simplistic: the generic White man as berserker Yuppie ("polo shirt") goes nuts a la that guy in Falling Down; and I'd say the Goth teen are not another image of discomfort but the prescribed antidote: White man mass killer replaced by deracinated and alien youth who are (in the artists' eyes) the harbinger of a greater future.
"This is The Wonder Gaze, an image by Ken Gonzales from a series entitled Erased Lynchings. It’s a historic photo from 1930s California, minus the victim."
What it is is a picture of well-dressed and well-groomed White people, they might as well be attending a Garden Party, but in this case they were attending a lynching. That's how matter of fact and run of the mill these lynching were for White people at the time, it was a social event--be there or be square. Of course, this Gonzelez fellow deems himself to have made a big artistic statement by eliding the black criminal (likely rapist or murderer) from the picture.
"The people in this particular image are not all actively tying a noose, but their mere presence and inaction creates an atmosphere within which such violence is normalized and perpetuated.”
Nah, it was just another day's good work.
***
The museum website for this show has a "research kit" which has several recommended articles:
A Phenomenology of Whiteness
The White Space
On Being White And Other Lies
The White Stuff
White Debt
The Construction And Perpetuation Of Whiteness
Negro Concepts Of White People
The Unbearable Whiteness of Being.
***
Believe it or not in this dying country the reeking entrepreneur of anti-Whiteness can garner a PhD in Whiteness Studies. Now African-American Studies is the celebration of black people, and Chicano Studies is the celebration of wetbacks, and Queer Studies is the celebration of Sodomites. So the naive traveler might be forgiven if he thought at first blush that Whiteness Studies was the celebration of White people. But how wrong he would be! No, Whiteness Studies is where infinite coals get poured over the heads of us White folk, where our decimation is hatched in the grove of academe.
And the flaks who pour out the associated verbiage for this exhibition have obviously supped with a very short spoon from this intellectual dross, as they hit all the bases.
"In North America the murder of George Floyd and the killing of Colten Boushie and the widely circulated video of a Whtie woman calling the police on a black bird watcher, have acted as a wakeup call for many people about the structural devaluing of black, indigenous, and other racialized folx who are systematically vilified and dehumanized."
A black bird watcher? Ha! Blacks idea of enjoying nature is tossing their empty 40s by the side of the road. Michael Brows was a gentle giant like that Congoid was a birdwatcher; Trayvon Martin was a cherubic tween like that pickanibny was a bird watcher; Geroge Floyd was a man of peace like that tar monster was a bird watcher.
Bird watcher my foot.
None of them did nuffin'.
"The violence subjugation of black and indigenous bodies is a foundational tenet of how the White race was created. Despite Anglo-Saxon myths the claim that Greco-romans were the origins of White culture there is not scientific nor any sociological basis for understanding white identity until after the colonizing of North America."
Here we get to the heart of what's the matter. The overriding theme of this "art" show is that White people don't really exist, that White is just pigment of the imagination. They follow Donna Zuckerberg's lead in saying that the Greeks and the Romans were not White, that they form no pedigree for us now. The want to say that White identity formed full blown from Madison Grant's "racist" brow one day in 1916, that prior to that there were no White people, there are no White people now, and White Identify is just a power grab. But the fact that our forebears (likely until White leaders in the antebellum Sout made it explicit) did not have a theory of Whiteness only means that they were all the more White. The fact of the matter is that when you begin to talk about identify it because it's already slipping away.
But none of this (of course) denies that the White race not only existed and exists--but does so in an exalted state.
That Sophocles didn't go around saying wake up White people doesn't mean he wasn't one of the White race purest expressions.
Obviously.
"In North America the racial category White has never been fixed on a common social understanding. There are no essential characteristics one can ascribe to white people except those created by culture and conditioning."
Got it? White people not only promulgate myths they are themselves a myth! You can see them walking around, you saw how they created entire civilizations, you watch them and marvel with awe, but don't let all that fool you: they are no more real than fictional characters, they are like mists evaporating, not even here one day before gone tomorrow. Essentialism in case you don't know if fancy Jewish word for real. White people, apparently, have no essence: they have only been conceived in the mind.
"Unpacking these ideologies is particularly important for white people seeking to understand race politics and recognizing their own positioning vis a vis racial other."
This is true, and important for sure. As the exhibit's website asks:
"After all who has thought less about whiteness than white people?"
That, sadly, is too true. But that is also changing. When enough White people think long enough and hard enough about being White exhibits like this will no longer see the white light of day.
They will be vaporized.
That's as sure as sure can be.
They want of course to act as if White is but the generic thing, like vanilla, of White Bread: enjoying no vibrancy, nor any reality, no substance; like pale ghosts who are transparent; but the transparent thing really is the high octane bullshit that the purveyors of this tripe extol; there is nothing on this planet more real than the White race and you more than half suspect that they know it; the terror and awe that the White race has inspired and still inspires leave them protesting way too much. So they dredge up some home brewed and barely baked and artificial theories that seem to make sense (for a split second) but wither and wilt under two split seconds of inspection. They clearly have pondered and mapped out the road to White Genocide very clearly; this gallery and this exhibit are meant to be the showcase of the end of White people, to make something low and dirty seem lofty and theoretical and high minded; the conception of White people as only a conception. Vaporize Whiteness until it is no more; perhaps they'll be shocked to find out we have other ideas; that we can no more be wished away than those milk drinking bronze age riders when they came thundering across the steppes. It is then of course that they'll have another thing coming.
