by: Gary DeMar
Hate crimes are beginning to stack up. But determining what constitutes a “hate crime” is in the eye of the beholder. Actually, it’s in the eye of liberals who only see criminal activity when it’s leveled at one of their protected classes. Here’s the latest insanity. While California has been described as the “land of fruits and nuts,” New York is competing to be the fruitiest and nuttiest land of them all.
Where were our government officials when artist and photographer
Andres Serrano unveiled his “Piss Christ”? It was a photograph of a
“small plastic crucifix submerged in a glass of the artist’s urine. The
piece was a winner of the Southeastern Center for Contemporary Art’s
‘Awards in the Visual Arts’ competition, which is sponsored in part by
the National Endowment for the Arts, a United States Government agency that offers support and funding for artistic projects.”
What was the response from the art community? Here’s one example:
Hate crimes are beginning to stack up. But determining what constitutes a “hate crime” is in the eye of the beholder. Actually, it’s in the eye of liberals who only see criminal activity when it’s leveled at one of their protected classes. Here’s the latest insanity. While California has been described as the “land of fruits and nuts,” New York is competing to be the fruitiest and nuttiest land of them all.
“Police are investigating an unusual bias
crime on Staten Island. Muslims who gathered for prayer to celebrate
the end of Ramadan in a city park found bacon scattered on the ground. .
. . [B]efore most of the faithful arrived for Morning Prayer, it was
discovered that someone had scattered a quantity of raw bacon on the
field.”
“‘This has been determined to be a bias
event on the part of our Hate Crimes Task Force,’ NYPD Commissioner Ray
Kelly told reporters.”
What was the response from the art community? Here’s one example:
“The art critic Lucy R. Lippard has presented a constructive case for the formal value of Serrano’s Piss Christ,
which she characterizes as mysterious and beautiful. She writes that
the work is ‘a darkly beautiful photographic image . . . the small wood
and plastic crucifix becomes virtually monumental as it floats,
photographically enlarged, in a deep rosy glow that is both ominous and
glorious.’ Lippard suggests that the formal values of the image can be
regarded separately from other meanings.”
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