Modern Art
(too old to reply)
Peter J Ross
2017-06-21 12:03:37 UTC
Raw Message
The life and career of Abstract Expressionist painter Mark Rothko
is a prototypical Jewish story that encapsulates a range of themes
discussed at The Occidental Quarterly. Central to Rothko's story is
the political radicalism of Eastern European Jewish migrants arriving
in the United States between 1880 and 1920; the reflexive hostility of
these migrants and their descendants to the traditional people and
culture of their new homeland; and how this hostility was reflected in
the artistic and intellectual currents that dominated Western
societies during the 20th century. Rothko's story also exemplifies
other familiar themes including: the force of Jewish ethnic networking
and nepotism in promoting Jewish interests, and the tendency for
Jewish "genius" to be constructed by the Jewish intellectual
establishment as self-appointed gatekeepers of Western culture.

With Jackson Pollock, Mark Rothko has been accorded a leading
place in the ranks of the Abstract Expressionists. If there is such a
thing as a cult artist among the liberal Jewish intelligentsia, then
Rothko is probably it. Important people stand in grave silence before
his empty expanses with looks on their faces that bespeak lofty
thoughts. As a critic for The Times noted:

Rothko evokes all that could be criticized as most pretentious,
most clannish, most pseudish about his spectators. They stand
there gravely perusing something that to the outsider probably
looks more like a patch of half-stripped wallpaper than a picture
and then declare themselves profoundly moved. And many out-
siders will start to wonder if they are being duped, if this Mod-
ernist emperor actually has no clothes on and his fans are just
the blind followers of some aesthetic faith.

For critics like Ottmann, Rothko's genius is indisputable and he
possessed an "extraordinary talent" that enabled him to transfer his
metaphysical "impulses to the canvas with a power and magnetism
that stuns viewers of his work. . . . In fact Rothko's skill in
achieving this result-whether intentional or not-perhaps explains why
he was once called 'the melancholic rabbi.'"1 For prominent Jewish art
historian Simon Schama, Rothko's "big vertical canvasses of
contrasting bars of colour, panels of colour stacked up on top of each
other" qualify Rothko as "a maker of paintings as powerful and
complicated as anything by his two gods-Rembrandt and Turner." For the
ethnocentric Schama "these [Rothko's] paintings are equivalent of
these old masters.
After experimenting with Expressionism and Surrealism, Rothko
arrived in 1949 at the signature style that would typify his work
until his death by suicide in 1970 at the age of 66. This consisted of
two or three floating rectangles of colour painted against a
monochrome background. A pioneer of "colour-field" painting, Rothko
claimed that only abstract painting could express the "full gravity of
religious yearnings and the angst of the human condition." His final
works became so minimalistic (large black canvasses) as to be almost
void of any substance.

As an educated family and active Zionists, the Rothkowitz family
spoke Hebrew in addition to Russian and Yiddish. Whereas the older
siblings attended public schools along with many other Jewish chil-
dren concentrated in one neighbourhood of Portland, father Rothko-
witz decided that Marcus would receive a strict religious education.

Rothko's parents saw no contradiction in bringing up their son as
an Orthodox Jew, a Zionist, and a Communist. This is quite in keeping
with Kevin MacDonald's observation that "within [pre-Bolshevik]
Russian Jewish communities, the acceptance of radical political ideol-
ogy often coexisted with messianic forms of Zionism as well as intense
commitment to Jewish nationalism and religious and cultural separa-
tism, and many individuals held various and often rapidly changing
combinations of these ideas."14

His entire family was in favour of the Russian Revolution, as Rothko
later said."15 This was, of course, very typical, with Jewish
historian Norman Cantor noting that: "In the first half of the
twentieth century, Marxist-Leninist communism ran like an
electromagnetic lightning flash through Jewish societies from Moscow
to Western Europe, the United States and Canada, gaining the lifelong
adherence of brilliant, passionately dedicated Jewish men and wom-

Rothko excelled academically at Lincoln High School in Portland,
and was a passionate debater for the radical cause, and "went to hear
the firecracker orator 'Red' Emma Goldman lay into capitalism and
sing the praises of the Russian Revolution."19
Rothko believed that one's means of artistic expression was
"unrelated to manual ability or painterly technique, that it is drawn
from an inborn feeling for form; the ideal lies in the spontaneity,
simplicity and directness of children."32 Such grandiloquent
pronouncements from Rothko were not unusual, with Collings noting that
"Rothko was outrageously over-fruity and grandiose in his statements
about art and religion and the solemn importance of his own art."33

This tendency on the part of Rothko prompted one writer to de-
clare: "What I find amazing . . . is how a painting which is two
rectangles of different colors can somehow prompt thousands upon
thousands of words on the human condition, Marxist dialectics, and
social construction." He suggests that a good rule of thumb is "that
the more obtuse terms an artist and his supporters use to describe a
work, the less worth the painting has. By this definition Rothko may
be the most worthless artist in the history of humanity." Another
critic humorously observed that Rothko needed to be fluent in
rationalizing his existence and validating himself as a relevant
artist to the average idiot who spent tens of thousands of dollars on
paintings which could be easily reproduced by anyone with a pulse and
a paint brush. Rothko . .. learned to garner attention to his
paintings by getting into a frenzied drama-queen state and
hysterically claiming that his works were deep, profound statements
and not just indiscriminate blobs of color. They were expressions that
rejected society's expectation of technical expertise, actual talent
and an artist's evolution over time.

Lasha Darkmoon has noted the tendency of Jewish artists to set
about redefining the very nature of artistic excellence to allow for
their own technical inadequacies. She observes that: "Whatever Jewish
artists were good at, that would be the art of the future. If Jews
were no good at drawing, good drawing would no longer be necessary."
She cites Israel Shamir who notes that the "preparation of these items
[of non-figurative art] places no demand on artistic abilities. They
can be done by anybody." Darkmoon elaborates:

In order to succeed in this difficult profession, the visually chal-
lenged Jews had to "bend art to fit their abilities." It is as if,
unable to excel at athletic prowess, the Jews had somehow managed
to gain control over the Olympic Games and decreed that, from
now on, sprinting and marathon running were no longer im-
portant. What really mattered was winning the sack race or the
Spitting Competition-accomplishments, possibly, which Jews
were particularly good at!
If Jews didn't make more of a splash as artists in past ages, it
is argued, it was because they were "held back" by their Chris-
tian oppressors. Unfortunately for the Jews, the great [Jewish art
critic Bernard] Berenson will have none of this argument. "The
Jews have displayed little talent for the visual," he states tersely,
"and almost none for the figure arts."

How, then, you might wish to know, are there so many Jew-
ish artists around nowadays? To what can we attribute this fan-
tastic efflorescence of sudden Jewish pictorial genius? The an-
swer, we are told, lies in Jewish networking and hustling, Jewish
predominance in the mass media, Jewish economic dominance
of the art world, Jewish power, Jewish money.34
As well as self-interestedly seeking to redefine the nature of
great art, Rothko often spoke out for the importance of "artistic
freedom," which in practice meant artistic freedom for those on the
In 1934 Rothko was one of the original 200 founding members of
the Art Union and started the Gallery Secession, which was devoted
to the newest artistic tendencies. A year later he became a member of
the group who called themselves "The Ten" (10 is the minimum num-
ber of Jews that can pray together). This unashamed exercise in Jewish
ethnic networking was an opportunity for Rothko and his colleagues
to engage in mutual admiration and promotion, and agitate in favour
of "experimentation" and against conservatism in museums, schools
and galleries.
Since the triumph of the culture of critique and the Jewish seizure
of the commanding heights of Western high culture in the sixties and
seventies, this pattern of Jewish ethnic networking has become an en-
trenched feature of the modern art establishment. Scruton observes
how "the new impresario surrounds himself with others of his kind,
promoting them to all committees which are relevant to his status,
and expecting to be promoted in his turn. Thus arises the modernist
establishment, which has dominated the official culture of Europe for
the last three decades, and which shows no sign of loosening its
Opinions vary widely about Rothko's work and legacy. While
many within the Jewish-dominated art establishment hail him as a
genius, others cannot believe that any sane person would pay tens of
millions of dollars for what amounts to nothing more than a large,
empty canvas occupied by two colors divided into separate rectangles
by a third color. What is clear, however, is that Rothko's career and
posthumous reputation as an artistic giant have been, to a very great
extent, the result of shameless hyping on the part of the Jewish intel
lectual and cultural establishment. Jewish role models play an ex-
tremely important role in fostering Jewish pride and group cohesion,
and it has been a standard feature of Jewish intellectual life to
actively construct Jewish geniuses by wildly exaggerating the artistic
or intellectual significance of their work. This ethnocentric Jewish
self-puffery is an extremely important way to shape social
categorization processes in a way that benefits Jews.
Abstract Impressionism was disproportionately a Jewish cultural
phenomenon. It was a movement populated by legions of Jewish art-
ists, intellectuals and critics. Prominent non-Jewish artists within
the movement like Jackson Pollock and Robert Motherwell married Jew-
ish women (Lee Krasner and Helen Frankenthaler respectively).
In his exposition of the political significance of the widespread
Jewish involvement in modernism, Norman Cantor noted that "Some-
thing more profound and structural was involved in the Jewish role in
the modernist revolution than this sociological phenomenon of the
supersession of marginality. There was an ideological drive at
work."61 This ideological drive was the urge to subject Western socie-
ty and culture (deemed a "soft authoritarianism" fundamentally hos-
tile to Jews) to intensive and unrelenting criticism-in the process of
which they spawned a massive literature of cultural subversion.
PJR :)

τὸ γὰρ δίκαιον οἶδε καὶ τρυγῳδία.
- Aristophanes
2017-06-25 00:33:29 UTC
Raw Message
Quote from jinfo.org: (people with a “+” after their names are not Jewish)

The co-invention of the Internet by Leonard Kleinrock, Paul Baran (Jewish), and Robert Kahn (Jewish). Together with Kleinrock, Baran, and Kahn, Donald Davies+, Vinton Cerf+, and Lawrence Roberts+ are the six individuals most frequently cited as principal inventors of the Internet. Kleinrock, Kahn, Roberts+, and Cerf+ were awarded the US National Academy of Engineering’s half-million dollar Draper Prize9 in 2001 “for the development of the Internet.” Baran, Kleinrock, Davies+, and Roberts+ received the first IEEE Internet Award in 2000 for “their early, preeminent contributions in conceiving, analyzing and demonstrating packet-switching networks, the foundation technology of the Internet.” Kahn and Baran received US National Medals of Technology in 1997 and 2007, respectively. Kleinrock was awarded the US National Medal of Science in 2007. Kahn and Cerf+ co-invented the TCP/IP protocol for integration of heterogeneous networks, which is the basis of the Internet’s “inter-networking” architecture. They shared the 2004 ACM Turing Award for this work, and in 2005 each received the US Presidential Medal of Freedom.

I assumed that Rothko was né Rothkowski, making him a Pollack. Small wonder that a Pollack would no nothing about art. Even Chopin had to go to France to escape the stench of kielbasa, and after some years, began to incorporated many of the finer aromas of charcuterie in his opus.

Gee, this crackpot stuff isn't that hard.