Art

Art is about making beauty. At all events that is my definition. The Wikipedia tells us that in Art, especially Fine Art aesthetic considerations are paramount; essentially the same idea. This makes it easy to understand Degenerate Art; the German term is entartete Kunst. That is what Adolf, the well known political philosopher, an artist in his own right called it. He was in a position to do something about it; he did. Then there is Kitsch, another German term, which is used to mean third rate, the sort of thing that little people like. The Wiki on Kitsch also mentions Cliché, Internet meme, Hipster (contemporary subculture), Poshlost, Prolefeed, Schlock, Lowbrow (art movement) and the Museum of Bad Art. They give a feel for the snobbery. Prolefeed is particularly evocative; a useful word for art racketeers selling to the nouveau riche, abusing their ignorance. Advocates refer to Modernism; it dresses bad art up as something reasonable.

Pretension is virtually all in that area. Jews are heavily involved, especially at the big money end of the market. Mr. Perenyi, the forger might be an exception. You might feel that his work exposed the pretension, the corruption. One of the grosser examples is Damien Hirst, who produces gimmicks, which are marketed by the Jew, Saatchi. He turned Hirst into a multimegabuck operation but then Saatchi is in the advertising industry. Lying come naturally there. Professor MacDonald, an eminent psychologist explains better than I can about Promoting Israel in the world of literature.

Fine Art ex Wiki
"Fine art
, from the 17th century on, has meant art forms developed primarily for aesthetics, distinguishing them from applied arts that also have to serve some practical function. Historically, the five main fine arts were painting, sculpture, architecture, music and poetry, with minor arts including drama and dance.[1] Today, the fine arts commonly include additional forms, including film, photography, conceptual art, and printmaking. However, in some institutes of learning or in museums, fine art and frequently the term fine arts (pl.) as well, are associated exclusively with visual art forms.[citation needed]

One definition of fine art is "a visual art considered to have been created primarily for aesthetic and intellectual purposes and judged for its beauty and meaningfulness, specifically, painting, sculpture, drawing, watercolor, graphics, and architecture."[2] In that sense, there are conceptual differences between the Fine Arts and the Applied Arts. As originally conceived, and as understood for much of the modern era, the perception of aesthetic qualities required a refined judgement usually referred to as having good taste, which differentiated fine art from popular art and entertainment.[3] However in the Postmodern era, the value of good taste is disappearing, to the point that having bad taste has become synonymous with being avant-garde.[4] The term "fine art" is now rarely found in art history, but remains common in the art trade and as a title for university departments and degrees, even if rarely used in teaching.

The word "fine" does not so much denote the quality of the artwork in question, but the purity of the discipline.[citation needed] This definition tends to exclude visual art forms that could be considered craftwork or applied art, such as textiles. The visual arts has been described as a more inclusive and descriptive phrase for current art practice. Also, today there is an escalation of media in which high art is more recognized to occur."

Art Forger Fooled Experts For Forty Years [ 8 July 2012 ]
QUOTE
Master forger comes clean about tricks that fooled art world for four decades.........

An extraordinary memoir is to reveal how a self-taught artist managed to forge his way to riches by conning high-profile auctioneers, dealers and collectors over four decades.

The book, Caveat Emptor: The Secret Life of an American Art Forger, will be published next month and tells the story of Ken Perenyi, an American who lived in London for 30 years. The revelations contained within it are likely to spark acute embarrassment in art circles on both side of the Atlantic.

Perenyi's specialties included British sporting and marine paintings of the 18th and 19th centuries. He concentrated his efforts on duplicating the work of well-known but second-rank artists, on the basis that the output of the greatest masters is too fully documented. Dealers were usually told that he had found a picture in a relative's attic or spotted it in a car boot sale.

Perhaps Perenyi's proudest moment came when a forgery of Ruby Throats with Apple Blossoms, by the American Martin Johnson Heade, made the front page of a national newspaper and was heralded as a major "discovery". It later fetched nearly $100,000 (£64,000) at auction in New York.
UNQUOTE
Honest painting is one thing. Attaching a name to it makes a huge difference in the minds of buyers. A genuine Michelangelo makes millions. A copy makes hundreds - maybe. Modern art is another thing. Pretension is ALL. It is not just coincidence that Jews are big in the racket. You doubt? See the next one.

Promoting Israel in the world of literature - A tale of Jewish ethnic networking
Written by Kevin MacDonald on June 30, 2012

I was looking over Brenton Sanderson’s TOO article on Mark Rothko (“Mark Rothko, Abstract Expressionism, and the Decline of Western Art“). For Rothko, an artist without any of the skills that are traditionally associated with being a professional artist, it was all about Jewish networking.

Towards the end of 1943, all of the ethnic networking finally began to bear tangible fruit for Rothko. He befriended Peggy Guggenheim, “the most voracious patroness of American avant-garde art”, who had migrated to New York in 1941. Guggenheim’s artistic consultant, Howard Putzel, “convinced her to show Rothko in her Art of This Century gallery, where she had opened in 1942, during the low point of the war.”In January 1945, Guggenheim decided to put on Rothko’s first one-man exhibition at her gallery. In 1948 Rothko invited a coterie of mainly Jewish friends and acquaintances to view his new ‘multiforms’. The [very influential] art critic and historian Harold Rosenberg “remembers finding these works “fantastic,” and called his experience “the most impressive visit to an artist” in his life.”

This is actually quite remarkable. It would be one thing if Rothko was aspiring to be a leading rabbi or the head honcho at the ADL. But he was aspiring to fame and fortune as an historically important artist in the Western canon. He achieved his goal. One of his paintings recently sold for $87 million.

What reminded me of Rothko was a Mondoweiss article, “Pro-Israel literary subculture is poised to champion Shani Boianjiu, as it did Risa Miller.“) Here we find that the budding careers of two pro-Israel writers, Shani Boianjiu and Risa Miller, benefited massively from ethnic networking. The works of Boianjiu and Miller

portray Palestinians negatively. [Their work is] successful less on the literary merits than because they appeal to and have been supported by members of a Jewish-American subculture that is devoted to the promotion of the State of Israel.

Weiss describes Miller’s novel, Welcome to Heavenly Heights:

It is a paean to continuing Jewish dispossession of the Palestinian people, who lurk in the background of this tale as a faceless, senseless, violent, malevolent threat to the American settlers’ charming and heartwarming spiritual quest.

The book “received mostly rave reviews, with very few writers even mentioning the fact that the political realities of the Israeli occupation had been either ignored or had been distorted.”

Boianjiu’s short story recycles Israeli propaganda on the death of the a Palestinian family in the 2006 Gaza invasion, and it portrays Palestinians begging to be shot by Israeli soldiers in order to get media coverage.

The ethnic networking is obvious:

Like Miller, [Boianjiu] is being championed by a Jewish-American woman author who has already achieved considerable success. Miller received the patronage of Elinor Lipman, who if my memory is correct had taught Miller in a writing workshop. [ Weiss comments on Lipman's "oh-so-liberal image." Since liberalism among Jews in the US is little more than a code word for anti-White attitudes, it illustrates once again the hypocrisy and double standards on ethnonationalism typical of the great majority of American Jews. Jewish ethnonationalism: good; White ethnonationalism: bad.] Boianjiu has been supported by the poet and novelist, Nicole Krauss. Both writers helped their protégés to win prestigious literary awards for novice authors. Miller won the PEN Discovery Award and Boianjiu the National Book Foundation 5 Under 35 prize (for which Krauss was her sponsor; and by the way, Kraus herself gained the attention of Philip Roth and Joseph Brodsky).

Boianjiu’s story appeared in The New Yorker, a premier literary magazine. It was accompanied by an interview by fiction editor Willing Davidson. The editor-in-chief of The New Yorkers David Remnick, and the magazine is owned by Conde Nast Publications, a subsidiary of Advance Publications, which is a privately held company owned by Si Newhouse. The Columbia Journalism Review provides a long list of publications owned by Advance, including Vanity Fair and 36 other magazines or journals, 60 newspapers (mostly in small-town America), the Discovery cable TV channel, etc.

Jewish media ownership and control is a major arena for Jewish ethnic networking, especially noticeable at high-prestige, influential publications such as The New Yorker. Just as Rothko was successfully promoted to be part of the Western canon of high art, these writers are being promoted not as Israeli writers, but as part of the Western literary canon. Soon to be featured in college courses and made into movies.

Jewish ethnic networking is a critical source of Jewish power, ranging from the worlds of art, literature and the media discussed here to the rise of the undistinguished Elena Kagan to Supreme Court justice (fueled by Larry Summers who rescued her from her status as an unemployed academic with a non-existent publication record to Dean of the Harvard Law School), to business networks, and the intellectual world. Where would Freud have been without his legion of Jewish backers within the psychoanalytic movement and in the media?

Jewish ethnic networking is the subtext not only of the sacrosanct position of Israel in the US media. It is also the subtext of the rise to dominance of the culture of critique and all that that entails in terms of multiculturalism and non-White immigration. We all accept a certain amount of ethnic networking as normal and natural—Jews are simply better at it than most. The problem comes when this ethnic networking creates an elite that is hostile to the traditional people and culture of the West or results in loyalty to Israel as the Jewish ethnostate at the expense of the best interests of the United States or other Western countries. Such an elite has no legitimacy, moral or otherwise.

https://en.wikipedia.org/wiki/Fine_art

Fine art, from the 17th century on, has meant art forms developed primarily for aesthetics, distinguishing them from applied arts that also have to serve some practical function. Historically, the five main fine arts were painting, sculpture, architecture, music and poetry, with minor arts including drama and dance.[1] Today, the fine arts commonly include additional forms, including film, photography, conceptual art, and printmaking. However, in some institutes of learning or in museums, fine art and frequently the term fine arts (pl.) as well, are associated exclusively with visual art forms.[citation needed]

One definition of fine art is "a visual art considered to have been created primarily for aesthetic and intellectual purposes and judged for its beauty and meaningfulness, specifically, painting, sculpture, drawing, watercolor, graphics, and architecture."[2] In that sense, there are conceptual differences between the Fine Arts and the Applied Arts. As originally conceived, and as understood for much of the modern era, the perception of aesthetic qualities required a refined judgement usually referred to as having good taste, which differentiated fine art from popular art and entertainment.[3] However in the Postmodern era, the value of good taste is disappearing, to the point that having bad taste has become synonymous with being avant-garde.[4] The term "fine art" is now rarely found in art history, but remains common in the art trade and as a title for university departments and degrees, even if rarely used in teaching.

The word "fine" does not so much denote the quality of the artwork in question, but the purity of the discipline.[citation needed] This definition tends to exclude visual art forms that could be considered craftwork or applied art, such as textiles. The visual arts has been described as a more inclusive and descriptive phrase for current art practice. Also, today there is an escalation of media in which high art is more recognized to occur.[citation