Behind the Obama Painting By Chris Knight

     Another article commented about the Obama painting, but I came by this exposure of the painter, or alleged painter black, Kehinde Wiley:
  http://www.libtards.news/2018-02-13-black-artist-who-painted-the-official-obama-portrait-a-racist-say-critics.html  

“Unbeknownst to most Americans who were ogling over his paintings of the Obamas, revealed Monday at the Smithsonian Institute in Washington, D.C., Wiley is known in the art underworld for two previous pieces that loosely reference a story in the Book of Judith, which involves a beautiful woman who seduces an invading Assyrian general and, before he is able to destroy their land, gets him drunk and decapitates him.

Popularized during the Renaissance and Baroque periods, the story centers around Holofernes, an Assyrian general who was about to destroy Judith’s home, the city of Bethulia. As The National Sentinel notes further, his ‘Judith’ paintings feature black women defiantly holding the severed heads of white women.

“Given the historical period and the fact that none of the women depicted as Judith were black, critics say it is difficult to miss the overly racist undertone of his paintings,” the news site reported.”
Severed heads? Just imagine if a white person had done that of a black, why the race police would be beside themselves! Instead, it is “great art.” But, it gets better, or should I say, “worse”: “

“Wiley doesn’t actually paint his work.” Even the “fawning” New York Magazine piece noted that, albeit in a roundabout way.
According to Wintrich, a “common technique” that is used often by Chinese labor ‘painters’ who mass produce work is the repetition of a pattern over and over instead of using an artist’s intuition to create a scene on canvas. The NY Mag piece discussed that after the writer tries to take a few pictures of Wiley’s Beijing-based studio space:

There’s nothing new about artists using assistants—everyone from Michelangelo to Jeff Koons has employed teams of helpers, with varying degrees of irony and pride—but Wiley gets uncomfortable discussing the subject. “I’m sensitive to it,” he says. When I first arrived at his Beijing studio, the assistants had left, and he made me delete the iPhone snapshots I’d taken of the empty space. […] “I don’t want you to know every aspect of where my hand starts and ends” […]

Producing work in China cuts costs, but not as much as it used to, Wiley says. These days in Beijing he employs anywhere from four to ten workers, depending on the urgency, plus a studio manager, the American artist Ain Cocke.” 

    So political correctness and anti-white racism can now be exported and processed off shore. It must surely be the largest industry in the West, or is even that still in the West now?