Lefty Academic Has A Problem With White Marble Statues

Originally Published by AltRight.com, www.altright.com

The Left in attack mode is very similar to ISIS and the Taliban. They are iconoclasts who want to smash everything of beauty and tradition in our society and replace it with ugliness. Not content with attacking Confederate statues in the US because of “muh slavery,” they now want to attack European statues and works of art in general on the grounds that the vast majority of them are by Whites and represent Whites. Not surprising really, as most of the countries where this is taking place used to historically be almost totally White. Now the next onslaught on White heritage is being prepared, as revealed by a recent op-ed for the leftie art website “Hyperallergic” by Sarah E. Bond (Contact her here) Bond argues that classical statues, many of which are made out of white marble because of its hardness and durability, used to be painted, and from this, she comes to the surprising conclusion that our refusal to repaint them in their original colors is somehow “racist” and “white supremacist.” “The assemblage of neon whiteness serves to create a false idea of homogeneity — everyone was very white! — across the Mediterranean region,” she writes. She blames the German art historian Johann Winckelmann (1716-68) as the main “culprit” because his books celebrated the whiteness of classical statuary and saw the Apollo of the Belvedere as the epitome of beauty. Because of the work of Winckelmann – according to Bond’s fevered reasoning – color in sculpture came to mean barbarism, “for they assumed that the lofty ancient Greeks were too sophisticated to color their art,” while Whiteness became an assertion of White supremacy and ammunition for advocates of White identity and interests: “It provides further ammunition for white supremacists today, including groups like Identity Europa, who use classical statuary as a symbol of white male superiority. It also continues to buttress the false construction of Western civilization as white by politicians like Steve King.” Wow, she even mentioned Identity Europa. Guess this article was actually written as a direct response to Moldylocks getting her lights put out. But what about Bond’s theory, is there any substance in it? Do faded Greek statues somehow promote non-White genocide? Well, just so we have a little context, let’s just have a quick look at that population graph that has been doing the rounds recently, thanks partly to French President Emmanuel Macron: Firstly, the main point about the theory is that it is sure to play well in the PC shithole that the Left has turned academia into. It is a great way of demonstrating her Leftist bona fides. So obviously the theory has to be viewed mainly as a career-promoting device. But having said that, there are obvious flaws with Bond’s point of view. Repainting the statues is not an authentic option, as there is almost no reliable data as to how they were painted. Any gimmicky attempt by ill-trained academics to do so, based on crass conjecture, is sure to lead to ugly results. In fact, in those rare cases where this has been done the results are always poor and sometimes laughable. But even if we could paint the statues in their original hues, guess what, they would look even more like White people than they do now because that’s who the ancient Greeks and Romans were — in fact Whiter than present day Greeks and Italians. So, how exactly would this promote Bond’s anti-White agenda? It seems that Bond is mistakenly latching onto another meaning of the word “colored” that is now considered dated and a “bit racist,” namely to signify African American, and using it to refer inclusively to non-Whites while seeking to exclude Whites. What she is doing is really as retarded as that. Despite this, you can count on it that at some stage in the future this dirty little theory is going to be weaponized and rolled out across museums and art galleries in the West to push for more vandalism of European culture, and will be moralized as “representing the rich diversity that now surrounds us” and “making amends for the past,” etc. Futures in brown paint will soar, or — more likely — having created confusion and stoked up racial tensions, the Left will then be able to claim that classical statues are just “socially divisive” and should, therefore, be removed in the interests of preserving some mythical idea of racial harmony.