Modern Art was Just an Elite Tool for Money Laundering and Social Engineering

I saw a New Yorker article praising the art of Jackson Pollock and read a bunch of sycophant comments from the public also praising his art.
It’s funny that people would not be suspicious of modern art with CIA origins, and it’s funny that it’s still promoted by corporate media as authentically popular. (When it’s only popular with gatekeepers in media and academia, and the prices commanded at auction by the rich wanting to launder their money.)

Piss Christ National Endowment

How the CIA Spent Secret Millions Turning Modern Art Into a Cold War Arsenal

Sam Biddle 11/10/10

What seemed like natural popularity of certain artists was, in part, actually a deliberate attempt at psychological warfare, backed by the US government.

The CIA wanted this art to be global. So it dumped millions upon millions of dollars to be secret patrons of art world darlings like Pollock. Fake foundations, used as CIA slush funds, sponsored international exhibitions. Former CIA operative Tom Braden says it was pretty easy to wedge your way into the art world when you were packing government cash:

“We would go to somebody in New York who was a well-known rich person and we would say, ‘We want to set up a foundation.’ We would tell him what we were trying to do and pledge him to secrecy, and he would say, ‘Of course I’ll do it,’ and then you would publish a letterhead and his name would be on it and there would be a foundation. It was really a pretty simple device.”

This technique—called “long leash” operations—kept the CIA in the shadows as it sponsored massive organizations like the Congress for Cultural Freedom, which had offices in 35 countries, and organized historic exhibitions of Abstract Expressionist art in cities across Europe.

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Who believes that the CIA’s only purpose was to subvert culture in Communist countries?
Why wouldn’t it apply to cultures around the world that the CIA wanted to subvert for their own control?


Modern art was CIA ‘weapon’

By Frances Stonor Saunders 22 October 1995

For decades in art circles it was either a rumour or a joke, but now it is confirmed as a fact. The Central Intelligence Agency used American modern art – including the works of such artists as Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko – as a weapon in the Cold War. In the manner of a Renaissance prince – except that it acted secretly – the CIA fostered and promoted American Abstract Expressionist painting around the world for more than 20 years.

The connection is improbable. This was a period, in the 1950s and 1960s, when the great majority of Americans disliked or even despised modern art – President Truman summed up the popular view when he said: “If that’s art, then I’m a Hottentot.” As for the artists themselves, many were ex- communists barely acceptable in the America of the McCarthyite era, and certainly not the sort of people normally likely to receive US government backing.

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The art world has always been controlled by the rich and powerful.

How Modern Art Serves the Rich

By Rachel Wetzler   February 26, 2018
Art’s imbrication in networks of money and power is hardly a contemporary phenomenon. Many of the great masterpieces of Renaissance art, for instance, were commissioned by members of the nobility. The origins of the modern picture trade date arguably to the 17th century Dutch Republic, where, in the absence of monarchical or church patronage, artists began producing domestically-scaled genre paintings for sale on the open market. In the early 20th century, the art dealer Joseph Duveen—later the 1st Baron Duveen of Millbank—made a fortune selling Old Master paintings he acquired from cash-poor European aristocrats to wealthy American industrialists like Andrew Mellon. As Duveen famously quipped, “Europe has a great deal of art, and America has a great deal of money.” What has changed is speed and scale: There is, Adam argues, more art being produced and sold than ever before, as artists, galleries, and auction houses attempt to keep up with the demand of a new class of international “UHNWIs,” Ultra High Net Worth Individuals attracted by the lure of profit and prestige.

Yet the most troubling examples of the exploitation of art for financial gain are perfectly legal. As Adam outlines, collectors and their agents have continually found creative ways to use their art holdings to defer paying taxes, including the establishment of private museums and foundations, storing artworks in offshore freeports where they can be exchanged without incurring customs duties or VAT, and loopholes in the tax code such as “like-kind” exchanges. Originally set up in the 1920s to aid farmers by enabling them to defer taxes on livestock trades, “like-kind exchanges” are now regularly invoked by art collectors in order to avoid paying taxes on the sale of artworks: So long as a collector uses the proceeds of the sale of one work to purchase another within 180 days, the tax obligation can be perpetually kicked down the road.

In the 20th century it took on new aspects of social conditioning. These “artists” are selected and promoted for a reason. An agenda


Katy Perry’s ‘Illuminati’ and Engineered Modern Art

Jay Dyer September 12, 2014

“The engineering of art was a decision made by the Rockefeller Foundation workers, the Guggenheim family, the Frankfurt School working with British Fabians like Bertrand Russell, and the intelligence agencies like the CIA, which the Rockefellers were instrumental in establishing. Concomitant with the rise of garbage “art” was the rise of feminism and its Rockefeller funding, as well, so they can be seen as connected movements, that culminate in the phony drug and sex “revolution” of the 1960s.”

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It’s funny that anyone would trust the CIA considering their origin and history.
having found out that they were have been engineering our culture with their involvement in all forms of popular media since the 60s, and the news and entertainment media and education all promote it.
Most people at this point have figured out that contemporary art is, at best, a circle jerk between insiders and the power elite who uses them to launder money, and at worst a tool of cultural destruction, replacement and control based on promoting anti-family, anti-civil society, trauma in children and conditioning in adults. Their goal is It’s the same principles as MKUltra trauma based mind control.


Robert Mapplethorpe: Promoting Cultural Degeneracy, Weaponizing Modern Art