Douglas Mercer
March 27 2024
If you think about it our entire White civilization (such as it currently is) is getting a “rehang.” A “rehang” in case you have been hitherto fortunate enough not to know is the “cool” word the Museum nerds in the stuffed shirts use to say they are going to close down the place for a period of time, do a big “rethink,” and then when they have cogitated long enough on absolutely nothing, re-open the place. In today’s world that invariably means they are taking that sabbatical in order to dream up new and ever more devious ways to give the White man the ideological shaft, and cut off at the knees the very culture and people who gave the institution life in the first place. One could say that after the deaths of George Floyd, or Travyon Martin, or Michael Brown, or really any of those niggers whose names they forced people to say at damn near gunpoint, our country has had to have a “re-hang”, although they don’t close it down it’s more a rolling and never ending re-hang as the black, Jewish, brown and (regrettably) White graybeards in the academy and the Hebrew media, tut tut about the White past and present evil, rid the country of all our sacred relics, and all of our great ideas, and replace them with the moral equivalent of jive talking niggers with sagging pants and gold in their mouths and a ball cap placed on backwards. The monkey is (metaphorically speaking) jumping up and down in the midst of a full blow chimp out about something or other and is as morally incontinent as they come. But then that is American History X in the current year, they will try to tell you different, but anyone who can see and speak frankly knows the bitter gall of the bitter truth. All around us the building is closing down, they are ponderously pondering our demise, and when they have re-hung us it will open up and be a new place which is and will be unrecognizable to our people’s eyes.
“A room called identity, 18th-century portraits by William Hogath of a wealthy me¬rchant family are going back on display. But now they will share space at the Fitzwilliam Museum in Cambridge with a subversive contemporary portrait by Black British artist Joy Labinjo, that imagines 18th-century African abolitionist Olaudah Equiano and his mixed-race family. In another room, labeled interiors, Ethel Walker’s 1916 painting Silence of the Ravine – thought to be the earliest female nude painted by an openly lesbian artist in the UK – is waiting to be exhibited for the first time.”
The Fitzwilliam Museum in England got one of those these big re-hands and is re-opening to much ballyhoo and fanfare in the hooked nose press. Safe to say they think that anyone with the name “Hogath” will have to be taken down a peg or two or many multiples. A wealthy White family tied to the land is their bête noire, is their worst nightmare and to let it stand alone in its imperious majesty would be unthinkable. No, they can’t let William Hogath and his grand White men have the floor, they need to wrest the microphone from those honkies. And so they sully up the mystique and grandeur of the White past with rank-and-file vile nigger art---they don’t call the room nigger art but that doesn’t mean it’s not nigger art---it is. Labinjo and Olaudah are nigger names to the core and mixed race spells one’s doom, and that it was the re-hang is all about. And of course, the dyke is just adding injury to insult and whenever they say “openly” they want to make you think that the whole line of female artists (such as they are!) were unregenerate scissor sisters which, what they hell, they probably were, the top fop artists of what is after all rather mediocre art inveterately and invariably tending toward weak kneed decadence. Safe to say none of this rehang art is Rembrandt but then he was likely a racist too the gods rest his beautiful Aryan soul.
“Being inclusive and representative shouldn’t be controversial; it should be enriching. We should all welcome the opportunities to understand each other better through the eyes of great makers and artists. She hopes the themes of the rehang – which also include men looking at women, migration and movement and nature – will illuminate dialogues between paintings across time and place and highlight recurring motifs in art from different periods: By grouping together very different-looking works that convey similar ideas, you can hear those conversations more clearly.”
Notice how they slipped “migration and movement” in their all sly like; and of course, the accompanying word “enrichment”—it’s like a tic or stereotypical reflex, as if niggers in your town ever enriched anything. For migration is their seed money by which they become perverted uan Appleseeds and drop the droppings of the world on us and hit at the root of everything we have. All the rest about “dialogues” and “conversations” is a cross between dog and pony and the smoke and the mirrors—so much puffery, they want to use a once White institution with the high-sounding White name of Fitzwilliam (and what could be more high sounding or White than that?) and turn it into a cudgel to beat us about our heads. It took them five years to come up with niggers, hell Adolf Hitler damn near changed the entire world forever in little more than twice as much which goes to show what can be accomplished when one works with an intensive purpose in all meticulous assiduousness. But the dirty little secret of it all is that what this really shows is how weak and worthless our opponents are, at some point people will come to and they will see the beauty of the White art and the ugliness and degradation of the black art and they will revere the former and spit out and at the latter. Migration and movement? Might as well say race swamping and replacement. It’s all in the words you choose after all. And in the end it’s all how accurate the words are.
“Well-known pictures such as Heneage Lloyd and his Sister, Lucy (1750) by Thomas Gainsborough, underline the importance of land ownership and inheritance in the eighteenth century, and are shown next to new acquisitions such as Henry Louis Gates Jr (2020) by Kerry James Marshall, in order to critically examine the visual language of portraiture and the absence or marginalization of Black figures. The fourth exhibition space examines the movement of people, featuring works by artists who immigrated to the UK, including Marie-Louise von Motesiczky, Lucie Rie, Frank Auerbach, and Aubrey Williams.”
The rehang was supported by the Albert Reckitt Charitable Trust and the Marie-Louise von Motesiczky Charitable Trust….so says the brochure. Of course it was: an old bag nonentity “artist” whose mother was a dirty and filthy Jew who fled Austria after the Anschluss and came to England; how on earth she worked her mediocre (at best) art into a Charitable Trust is a tale in itself of course; our enemies are always being celebrated and touted and given the keys to the kingdom that was once our own; what was a noble inheritance has been laid low and what was once a noble museum has been reconfigured and revamped and turned all the way upside down. This of course in their nefarious designs is just an intermediary stage, put the noble White art alongside the ignoble black, until they have decimated the White population enough that they can consign the former to the archives or the basement or the trash heap. The amazing thing is it is all happening transparently right in front our eyes like a slow (but ever faster) motion disaster; but those of us who see what it means and where it is heading will never forget and will always remember, for we know in our hearts the stakes. And of this you can be most sure: after such knowledge no forgiveness.
