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 Fred Wilson

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PostSubject: Fred Wilson Sun Jun 24, 2012 9:10 am

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Conceptual artist Fred Wilson (born in 1954 in The Bronx) describes himself as of "African, Native American, European and Amerindian" descent.
Another genius negro - trying to be everyman - producing 'thoughtful' and 'deep' art that just happens, coincidentally, to have as its entire subject matter being black in a white world. This buffoon, whose motifs are those created and rubber stamped by the white liberal intelligentsia as acceptable criticism in this age, plays to the most pathetically hypocritical qualities of human nature - sympathy combined with the most transparent and simplistic use of irony.

Art-house idiot:"Oh wow! A plaster statue of the venus di milo together with an onyx statue of an Egyptian pharoah... that's like... so meaningful and amazing. Gee... I totally dig what the artist is trying to say."

But always a subtext of caring and sharing predominates, for these blacks don't want to bite off the hand that feeds them... that sustains them. We're all in it together. Whites are forgiven, for whatever they've done, just as long as they debase their own culture and themselves enough to make the behavior of blacks seem normal.

[You must be registered and logged in to see this image.]- Fred Wilson, Grey Area.

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"Wilson's juxtaposition of evocative objects forces the viewer to question the biases and limitations of cultural institutions and how they have shaped the interpretation of historical truth, artistic value, and the language of display."
But not so far as to question the institution of liberal secularism itself; the very thing that not only allows and validates but applauds this kind of shallow-minded garbage. In the above piece Wilson has utilized the greatest myth of racial politics planted by liberalism - that racial differences are only skin deep. How easily the mind is drawn into it, as a way of escaping a physical reality that is filled with differences and suffering and conflict.

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Wilson will place slave shackles alongside ornate silver goblets, or a crude whipping post in front of finely crafted wooden chairs. A confusion of overlapping categories for some curators, this work has offered to others tangible evidence of an otherwise invisible historical record of class and race oppressions.
How the rough and the raw is placed next to the refined, debasing it, reducing it. The racial subtext: upholding what is unevolved to be of equal value to what is evolved.

Art is dangerous, Plato observed, because it stirs our emotions. Consequently, it leads us away from reason. Amongst those who have barely, if ever, used reason in their lives, and who have lived lives with a greater awareness of suffering than the middle classes, are they not primed to the be victims of this type of propaganda? Is this not exactly the fate of the white working class and are these not the exact methods liberals have used to recruit working class whites into a war against their own culture and people?


Last edited by Recidivist on Tue Aug 28, 2012 7:35 am; edited 1 time in total
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PostSubject: Re: Fred Wilson Sun Jun 24, 2012 7:15 pm

Thanks.

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PostSubject: Re: Fred Wilson Sun Jun 24, 2012 9:40 pm

One more example of art exposing cultural decay.

What supports the liberal mythologies is "brilliant"; what does not is vile and vulgar.

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