General Art Thread

[Hummingbird]

Here are some watercolours from John Singer Sargent. I think they capture the decadence of the late 19th century well.

[...]

nothing in this thread is particularly good except for durer and sargent

[anthony]

I've been fascinated with scanlator credit pages in online manga for a long time now.

[Guest]

I've been fascinated with scanlator credit pages in online manga for a long time now.

I believe a lot of the warmth that oozes out of these pages is related to the amateurishness that they have. It feels like a gathering of friends making a fairly poor recruitment poster for their club, just all done online. Having "worked" for a scanlation group in the past, I do honestly see them as a form of social gatherings, a way to form lasting bonds (except when women are involved), and very soulful.

Tangentially related, I wanted to post what I believe to be the greatest singular piece of animation ever made. Asuka vs. the Mass Production Evangelions, by Mitsuo Iso.



It feels to me like the culmination of animation as a whole. The vitality, sense of weight, and sheer beauty of the art with the backing music create a true masterwork. There are a few bits of animation that reach this level of art, but this I believe ultimately transcends them all.

[kirukuni]

Here are some watercolours from John Singer Sargent. I think they capture the decadence of the late 19th century well.

How do you feel about the brandywine school?




They're somewhat kitsch because most of their work is illustrations for older novels, but I really like how direct and immediate they are while having a 20th century view of the world. There's far less 'posing for the camera' in an attempt to 'mean' something. Reminds me of the contrast between the framing in older movies and the framing done by zoomers. Everything done by zoomers is intensely meant to convey a specific cultural meaning at all times.

nothing in this thread is particularly good except for durer and sargent

Share something better, then.

[PIGSAW]

nothing in this thread is particularly good except for durer and sargent

Art as a living entity has always been offensive to the literary mind, which prefers "art history"— art and life reduced to pride in the knowing of names of dead people and past events.

This makes you correct in that the subject of a thread on art should be innately personal (as art as a social phenomenon is just as retarded as art as "a thing where you know the names of shit" is, the purpose of art is to be anti-social, to attack and frighten the public with shocking and beautiful imagery— to put the fear of God in them) with more examples of modern works from living artists, but again, the literary mind lives safely in an itemized past.

This is why libtards are able to 'win', because they (correctly) never "do the work" of reading— they say they did, skip it, and move on to the stage of action. The enemy will continue winning as long as their opposition insists on thinking so crudely, bound to rules only they follow.

Back on subject:

I've been fascinated with scanlator credit pages in online manga for a long time now.

...

Like master artist Warhol, I too enjoy trawling random gutters for lowbrow verve:



I don't recommend any of Ashley Wood's "Zombies vs. Robots" series (the '00s Gen X madlib name is already bad enough), it's a lower bar for him and his work, which was at its highest when he was ripping off Dave McKean and commandeering his style against McKean's subconsciously English anti-2A sentiments— like Automatic Kafka and Hellspawn (though McKean remains the better and more innovative artist). 

In any case, the use of one of his sepia paintings as a texture behind the skate sticker-esq scanlation 'tag' over top dramatically improves this image— particularly because the theme of warfare is not interfered with, rather highlighted via contrast via different styles of rendering and palette. This brings it more into the realm of someone like David Carson, making it feel newer and more violent.

Graphic design, as always, remains high art.

There's far less 'posing for the camera' in an attempt to 'mean' something. Reminds me of the contrast between the framing in older movies and the framing done by zoomers. Everything done by zoomers is intensely meant to convey a specific cultural meaning at all times.

This is an interesting observation, elaborate.

[...]

test

[Muskox]

How do you feel about the brandywine school?

They're somewhat kitsch because most of their work is illustrations for older novels, but I really like how direct and immediate they are while having a 20th century view of the world. There's far less 'posing for the camera' in an attempt to 'mean' something. Reminds me of the contrast between the framing in older movies and the framing done by zoomers. Everything done by zoomers is intensely meant to convey a specific cultural meaning at all times.

I made a side trip to the Brandywine River Museum the other day. I was underwhelmed by most of the Andrew Wyeth paintings they had on display, unfortunately. He's a painter I like very much. But the second floor was devoted to Brandywine School paintings. I thought these two were pretty nice:



"Island Funeral" by N. C. Wyeth



"And so the treasure was buried" by Frank E. Schoonover (This one caught my eye additionally cause of the painter's Dutch New York name)

[GraphWalkWithMe]

Jacques Bellange (1575-1616) was a "French" illustrator, drew in a highly idiosyncratic and appealing fashion. It's always interesting to see depictions of idealized female forms from past times.

St. John The Apostle


Three Holy Women

[Hatsune Miku Clitoridectomy Groyper]

St. John The Apostle

Neat, can we see it?

[kirukuni]

There's far less 'posing for the camera' in an attempt to 'mean' something. Reminds me of the contrast between the framing in older movies and the framing done by zoomers. Everything done by zoomers is intensely meant to convey a specific cultural meaning at all times.

This is an interesting observation, elaborate.

Most everything framed by people born before 2000 is done in a naive style. The natural inclination of such people is to take the subject of an image and put them directly in the center, without even any particular symmetry to provide a flattening starkness as a form of style. It's a fairly notorious trait of beginners in art circles. This is much less true now than it used to be. There are a thousand thousand listicles you can google that show contrasts between a photo taken by someone in their 30s or 40s and one taken by someone in their teens or 20s.

A lot of the media we enjoy from the past is done by people who are the absolute best in their field or which were aiming for the exact type of stylishness that would make them memorable and interesting decades after the fact, but they aren't necessarily the norm. Over time we've come to think more and more in this developed style where higher order images are the basic building blocks.

Here's an example of a unremarkable 80s movie, adventures in babysitting.



These were thought of as physical objects first and foremost, arranged as such (with some allowances for making everything visible to the camera, and other basic tools of the trade), then the camera was placed to show everything. This is fairly workmanlike. Obviously, there are plenty of scenes in media which aren't like this, but this is the baseline that images build upwards from.

Just think about what kind of media would be made by someone who models their personality off of the quirky mom from a marvel movie.They're thinking of these media implanted schemas first, not of the physical objects. They're concept and idea maxxing.

[Corvid]

https://erinvestart.com/

[anthony]

https://skins.webamp.org/

Heil Hitler

[GraphWalkWithMe]

Gislebertus carving of an angel draping a trio of resting warriors in a blanket of harps.

[PIGSAW]

https://skins.webamp.org/

Heil Hitler

My favorite: https://skins.webamp.org/skin/c4e6507d36...heck1.wsz/



Runner up: https://skins.webamp.org/skin/911c885917...Rakka.wsz/

But the whole project is beautiful.

---

Matthieu Lavanchy:



(I couldn't find a picture of him, is this him?)









That tape reminds me of something:



Tom Sachs:





Nazi Bondage Babe, 2002, synthetic polymer on canvas, 152.2 x 183.5 cm (59 7/8 x 72 1/4 in.)



Untitled (Modular Man with Syringe), 2002, synthetic polmer paint on canvas, 47 7/8 x 48in. (121.6 x 122cm.)



Untitled (Skull white), 2006, spray painted bronze, 15.2 x 22.9 x 15.2 cm. (6 x 9 x 6 in.)



Olympic circumstraint , 1999, painted cast bronze, 64 x 33 x 10 cm. (25.2 x 13 x 3.9 in.)

https://www.sportskeeda.com/pop-culture/...-statement

Andrew Holmes:

FOUR HORSEMEN OF THE APOCALYPSE

Los Angeles
2012

The Four Horsemen of the Apocalypse, in the form of four Ford Thunderbirds from the 1970s, appeared before the end of the world predicted for the 21 December 2012, in accordance with the prophesy in the Book of Revelations.

The First Horseman is all white inside and out, with gold plated chrome work, trim and pinstripe.

The Second Horseman is burgundy coloured, with a silver pinstripe down the side, and a red interior. Twin flamethrower tailpipes protrude from the rear of the car.

The Third Horseman has a black flip-flop painted exterior with an interior that is matt black with black velvet upholstery.

The Fourth Horseman is a lowrider, painted outside and in with white photo luminescent paint so that it glows in the dark. The interior is entirely metal with all the upholstery removed. The external bodywork is pierced by bullet holes into which are fixed ultra violet LEDs in the pattern of the stars on the night of 21.12.2012. Each wheel has independent hydraulic suspension so that the car can be programmed to limp down the road, mimicking the movement of the skeletal pale horse described in Revelations.

[JohnTrent]

Alexandra Ranner has some installations circa the late 2000s that are reminiscent of a later "Backrooms" aesthetic. My brain feels scrambled at the moment so I cannot make a wall-of-text post about the subject.

[JohnTrent]

Started thinking about this and chose to post it here.

I have fixated on the work of David Dees in the past. His name may not be familiar, but his images certainly are. I will paste two for effect.




There isn't much serious consideration about his work, and the images that are shared are edited for comedic purposes. This isn't unjustified, because the basis of his art runs against most visual tendencies; there are few creations that he made that are "tasteful" in a conventional sense. This is the best example I can find at the moment:



He first began his line of work in a more conventional style, working on Sesame Street illustrations. This is the only one I'm able to find, but they can't be very interesting in their own respect. Some of the members here have read John K's blog and are aware that the animation industry has been in steep decline for awhile. Needless to say, this earlier work does not contain any intricacy. It appears to be for toddlers, after all.



Whatever one thinks about David Dees' quality as an artist is besides the point. It is clear that he eschews most conventions of a visual artist, and may be more accurately described as a political cartoonist in the Ben Garrison vein. Both adopt a direct method of messaging, where figures are overtly assigned a certain title, ranging from "Vaccine Enforcement" seen in the first image, "Zionist", etc. People like David Dees are outside of multiple norms, because they not only produce works that should be considered outsider art, but they also cannot be recuperated. It is removed from the traditional mold of reputation, where an artist can create something outside of all expectations, await a decade of being defamed or lambasted by the public, then be re-established as a misunderstood character. While this doesn't occur all of the time, some of these aforementioned types will say that they were conducting an experiment, that the controversial subject-matters had nothing at all to do with their beliefs; this is a comparative exercise where the misunderstood artist has to suffer a subtle trail of public relations, recanting "objectionable" statements and discreetly hiding secret sources of inspiration. David Dee does not do this because he truly does believe in what he makes, and his art is marked by urgency & fear.

I would like to branch off here to talk about a much different artist: Martha Rosler. Around the 1960s, she had produced some edited photographs spliced together, railing against the idea that "photography should merely serve as a neutral document" (Hal Foster, Art Since 1900). Most of the beliefs that you can gather from the images aren't special, not anything too unorthodox. It is a splicing of wartime characters with domestic American settings.





If it isn't Bansky-tier, it's close.

The reason why I mention her is because she is using photos, splicing them together for an ulterior purpose. This is what David Dees does for the most part: his representation of the average American isn't created from scratch, it's actually Boogie2988. He uses him multiple times as a means to characterize the dull, mindless, and obese American, someone unconcerned about loss of rights or anything significant around them. I don't want to attach too many images to illustrate my points here, because his work is still mostly accessible through image search, and my characterization of his art can be seen in the earlier images. What makes him unique is that, opposite to someone like Martha Rosler who splices together two images to generate a mental association, he overloads the image with as many associations as possible. It's unconcerned with the tastefulness of each detail, or if it is coherent alongside the other — it is done regardless, because David Dees believes this to be an adequate representation of reality. He is unashamed when he overwhelms your eyes.

The word schizophrenic is overused, but it is one of the most accurate terms to use when describing his style. The difference between him and an artist like Mark Lombardi (another artist associated with conspiracy) is that Lombardi charts an immensity of names, and Dees chooses to depict a grotesque world of domination, power, and degeneration. Images like the one below is the reason why the ADL is the first result when you search his name.

[Frank]

I remember trying to make a Dees-like image years ago and being absolutely baffled as to where I'd even start. There's something so masterful, yet amateurish at the same time. The vaccine checkpoint is a great example. If I took the same stock images and tried to create the same picture from memory, I could never recreate it in a way that captures the same feeling. The paranoia-inducing lighting that feels so bright yet never steals the show, the color work that focuses the eye on the action and heightens the emotions of the mother and child... hallmarks of a professional visual artist. Yet there are details like the MANDATORY above the variable message sign. What is illuminating this word? Why not just put it on the sign? Or better yet leave it off. It's not like a checkpoint is voluntary! Ben Garrison-esque in its unsubtlety. A mishmash of stock images and stock fonts, yet arranged with an artist's sense of composition and value.

The Sesame Street thing is the skeleton key that unlocks his whole mission. He unleashed his arsenal of underhanded visual tricks designed to grab a child's attention, but targeted them at the sheeple, whom he probably considered mentally on par with children anyway. The bright haze effects, the saturated colors, the extreme facial expressions, and so on. Add to that the overload of labels and ideas and it's clear that he's making a political cartoon designed for retards. People laugh at David Dees images and think his brash and tasteless style is proof that he's a moron, but really he's the one looking down at you -- and he's not laughing. These details are being included to entice you, the fluoride-brained triple-vaccinated sports-addicted zogged-up nigger cattle, into seeing the truth before it's too late. Not surprising that when you peek behind the "anti-semitic extremist" curtain that the ADL lays in front of you, you'll find that he was really a hippie boomer shitlib.

[PIGSAW]

Alexandra Ranner has some installations circa the late 2000s that are reminiscent of a later "Backrooms" aesthetic. My brain feels scrambled at the moment so I cannot make a wall-of-text post about the subject.

I wouldn't really call it "backrooms", it's more "clinical-chic" (though there is a relevancy in the flickering lights shared between a K-mart and a recovery ward) Y2k era (as in the actual thing, the late '90s into the early '00s— not as a nonsensical meme term like Vaporwave) influenced somewhat by Cronenberg and the like.

In any case, I haven't seen this artist before:



Keller, 2002 - 2004
Inkjet with pigments

Photography

h: 50 x w: 66 cm / h: 19.7 x w: 26 in

https://www.mutualart.com/Artwork/Keller...BC1D9EB8C1

It reminds me of when the west (Americans, and then everyone else) became aware of Capsule Hotels in Japan:



The idea of Japan (Asians in general, but particularly the Japanese) living in this kind of '70s "sci-fi hospital world" made of airplane windows and bathroom shapes:




Personally, I'd much prefer that our "techno-futurist" "overlords" be so kind as to form everything in beige plastics with metal trims— but obviously we can't have that because of the usual suspects (hideous crippled Jews, furries, superstitious nigger witch doctors, women LARPing as men, men LARPing as women, Mexicans that should be deported to Canada, Canadians that should be deported to Mexico, "people" that say "bruh", generationally butthurt Carribean mulatto Twitter trannies, etc).

Started thinking about this and chose to post it here.

I have fixated on the work of David Dees in the past. His name may not be familiar, [...]

David Dees is contender for best (western) illustrator of the '00s and Alex Jones (who I also like) is a dumb fuck for not hiring him (although I can't know for certain he didn't try) as art director of InfoWars. Alex Jones understood, the same as PT Barnum and Colonel Tom Parker, that Hollywood is the World Circus and that in the post-9/11 world of the '00s you would need to be a controversy magnet (when did Michael Jackson start doing the really weird shit?) to be a celebrity, moreso than in previous eras. What he should've done was hire David Dees to be his Ralph Steadman:

[...] In a fair world, there would be some American counterpart to things like Kowloon's Gate or Shin Megami Tensei: Nocturne (both share Nakaji Kimura as writer)— which is to say that Alex Jones should've launched his own LucasArts and hired Dees to spearhead it.

[...] There isn't much serious consideration about his work, [...]

Oh! But look at what we do get:

[...] It’s a good thing Dees is mostly concerned with the message, too, because in terms of aesthetics, he comes up sorely lacking. I asked Paddy Johnson, art critic and current Editorial Director of Art F City, to take a look at Dees’ work. She noted that he is at least working somewhat within the realm of traditional social commentary through art. Johnson pointed to Llyn Foulkes semi-recent show at the New Museum, that featured one painting in which Mickey Mouse tears his way out of Walt Disney’s head, as something that might be vaguely akin to what Dees is trying to accomplish. Except that “that show worked because Foulkes was a virtuoso with materials.”

And a virtuoso, Dees is not. As Johnson explained:

Structurally, Dees uses a minimal number of elements and arranges them so they look right; they’re proficient compositions but not complex. Now take a look at the work of Cliff Evans or Kenneth Tin Kin Hung,both of whom use a similar aesthetic; the collages are vastly more complicated and even elegant in their design. None of that grace and ease with composition comes with this work, which is why ultimately, it’s not very sophisticated.

[Sauce]

DUMB (wannabe) WHORES.



You'd think, considering they're nigger-lovers (I know they are, because they're women and women can't think), they'd have brought up Pen & Pixel:





Because y'know, they use the EXACT SAME TECHNIQUES and SOFTWARE as Dees:



There's not a single God damn thing women don't fuck up. HURR "It's a good thing Dees is mostly concerned with the message, too, because in terms of aesthetics, he comes up sorely lacking." DURR, you DUMBFUCK (currently) unraped WHORE— Dees "MESSAGE" is the BAD PART. Unfortunately, as much as I LIKE Dees (he's one of my favorite artists), he's a Boomerlib:



OMG, that NAZI Bill Gates wants to STERILIZE the heckin' NIGGERINOS!! NOOOO, they were just trying to live in communion with NATURE!!!
END ELITE OBSESSION WITH "EUGENICS", END MASS GENOCIDE!!



AID(S) TO APEFRICA!!! MASS PRODUCE AS MANY NIGGERS AS POSSIBLE!! END ZIONISM!!!



This too (totally fucking awesome, Jews Rock!), OMG not the Palestinians! The heckin' lumpen!!! The Jews are JUST LIKE THE NAZIS!! NEVER USE VIOLENCE TO SOLVE ANYTHING!!!! WORLD PEACE!!!!



Did you know Arnold "SCHWARZENIGGER" is a NAZI??



LITERALLY a NAZI!!!


(Really cool image, love it.)

Has anyone here read the RationalWiki page on Dees? Well, I have:

Dees believed in all the conspiracies.

No, seriously. All of them.

It's hard to articulate HOW fucking BRAIN DEAD these white NIGGERS that wrote this page are, but I'm going to try.

David Dees is no more of a "conspiracy theorist" than anyone who uses RationalWiki, or anyone that watches CNN. The FOUNDATION of conspiritardism is LIBTARDISM. It's so fucking infuriating this is not even MARGINALLY recognized online— Dees is not "right wing", because he doesn't support use of violence for political means. He's an anti-war, Boomer, hippie that became inundated with psychic fear in the post-9/11 world as he finally NOTICED the structure of society falling apart in front of his eyes.
This in and of itself is very fascinating, but it does not make him "right wing" nor a "Nazi" or anything like that.



Then again...

[...] and the images that are shared are edited for comedic purposes. This isn't unjustified, because the basis of his art runs against most visual tendencies; [...]

Dees was extremely funny and clearly intended for most of his images to be funny:



The unjustified part is that RETARDS think Dees would make an image like that in complete "sincerity", rather understanding it as a joke about what he actually believes (that Obama is a retarded communist who works for ZOG).

An important detail to understanding libtards, as well as the lesser races (including women), is their total incapacity for creating or understanding humor, jokes, etc. These things do not exist to them. Something is either real or a "hoax"— this is also why they hate and fear artists and art, which they consider to exclusively be the realm of illusion and trickery (correct, but not in the way they mean it).



This image too, is very funny. But it isn't "meant to be a joke" as much as reality itself is a joke— Obama is the smiling, two-faced, mixed-race figurehead to ease you into the Global Flattening, he offers you the Blue Pill— to sleep forever under the watching eye of ZOG as they use "The Matrix" (MSM, medical and agricultural poison) to sedate the public (your friends and family, your country), and military force behind the curtain to violently push everyone into the New World Order.

This is what I would label one of his "horror" images, but I'll take this opportunity to bring up the relationship between HUMOR and HORROR:



This is both funny and scary. Her face contorted this way is kind of retarded looking, but the framing makes it frightening.



If Lynch was not so interested in FEAR, he could very easily have been a master COMEDIAN:



I bring up Louie (Jewie) C.(uc)K. because of this:



That if you understand HORROR, you also understand HUMOR:



TWO sides to ONE coin— because you can't spell SLAUGHTER without.. LAUGHTER:



What all of his dipshit, younger, Faillennial critics are unable to grasp is that it's just Boomer humor:



Craig Robertson (who was just recently sacrificed to the ZOG alter for making jokes online) had the exact same "extremist" Boomer humor as Dees. He wasn't planning on killing Biden, he was making fun of the absurdity of modern American life. Telling jokes (1A) and owning weaponry (2A) are WERE protected Constitutional amendments.

https://www.rollingstone.com/culture/cul...234804746/

But you know what I think happened? I think, the spooks found this guy because they were looking for someone like him, and they shipped Biden's hologram corpse to Utah to justify a preventative raid on his house, with the intention of killing him, for the end goal to run MSM news stories on him as a "MAGA Trump" terrorist after the fact as interference for everything they're FUCKING UP right now.

Hey pretty crazy right? But I'm probably just a conspiracy theorist.

[...] there are few creations that he made that are "tasteful" in a conventional sense. This is the best example I can find at the moment:

"Tasteful" is kind of off the table— since Dees was drawing from the garish, bizarre, maximalist warmongering aesthetic of the '00s. But again, Dees aesthetic sense IS (OBVIOUSLY, TO EVERYONE EXCEPT WOMEN AND MINORITIES) the strongest element of his work. The closer he gets to operating in a purely visual state (although as a conspiritard he is obsessed with allegory), like a waking REM state (schizophrenia) the better:

[...] Whatever one thinks about David Dees' quality as an artist is besides the point. It is clear that he eschews most conventions of a visual artist, and may be more accurately described as a political cartoonist in the Ben Garrison vein. [...]

Dees would probably be happy to be compared to Garrison (assuming this didn't already happen and I'm not just unaware):



But as his biggest fan I disagree entirely with grouping him in the genre of "political cartooning".

I would most directly compare him to famous horror vacui painter H.R. Giger (and from Dees earlier work, we can note he was originally trained as an airbrush painter, just like Giger):





Particularly his collaborative work with Martin Schwarz, which (like Giger's regular paintings) evokes the same panicked feeling upon viewing.

[...] he overloads the image with as many associations as possible. It's unconcerned with the tastefulness of each detail, or if it is coherent alongside the other — it is done regardless, because David Dees believes this to be an adequate representation of reality. He is unashamed when he overwhelms your eyes. [...]

Fear through information overload of esoteric imagery and symbols, the basis of conspiracy art:



Giger was the person who really put the idea of "The Matrix" into the mind of the public before The Matrix— the endless sprawling machine-horror, something Dees was deeply affected by.




(Done for Hide Your Face.)


(One of my favorite pieces by Giger, I assume a tribute or homage to Bacon.)



I said he'd be good for video games, and I meant it. But his use of The Master from Fallout looks more like killer7:



Though I imagine a David Dees game being like Dark Seed II:



Or Weird Dreams:



Which further proves my point, and on that note the other artist I'd compare him to is Kazuma Kaneko:











Who is most interested in anthropomorphizing conspiracy allegory into characters (because he's Japanese, Mac Tonight is their favorite McDonald's character for a reason), more than Dees who is more interested in scenes:







I think images like these, seen from this light, could very easily represent an American or Western vision of Shin Megami Tensei.

[...] People like David Dees are outside of multiple norms, because they not only produce works that should be considered outsider art, but they also cannot be recuperated. It is removed from the traditional mold of reputation, where an artist can create something outside of all expectations, await a decade of being defamed or lambasted by the public, then be re-established as a misunderstood character. While this doesn't occur all of the time, some of these aforementioned types will say that they were conducting an experiment, that the controversial subject-matters had nothing at all to do with their beliefs; this is a comparative exercise where the misunderstood artist has to suffer a subtle trail of public relations, recanting "objectionable" statements and discreetly hiding secret sources of inspiration. [...]

https://twitter.com/electricalWSOP/statu...5658713092

[...] David Dee does not do this because he truly does believe in what he makes, and his art is marked by urgency & fear. [...]

[...] The word schizophrenic is overused, but it is one of the most accurate terms to use when describing his style. [...]

The final artist I would compare him to is Topdrunkee (my favorite conspiracy artist) creator of Killer7SINdicate & Paradise Hotel 51:



And the many iterations of his killer7 fan game (the only one anyone has ever made) "Killer 7 SINdrome":





That later became "Citadel of the Whore":





And then, even later, became "Angel Heights":

[PIGSAW]

While looking for something else I remembered another artist that works in the same genre as Dees— which should've been obvious, but he doesn't get brought up much anymore:



Cyriak Harris:



Ancient oldfag from b3ta (if that site's even still online):



I also forgot that I wanted to bring up Psychiatry: An Industry of Death Museum wrt David Dees:



https://www.cchr.org/about-us/cchr-indus...useum.html
https://www.atlasobscura.com/places/psyc...ath-museum
https://en.wikipedia.org/wiki/Psychiatry...y_of_Death

Run by the fine folks at the CCHR: https://www.cchr.org/



The first thing you do, after being assaulted by one of their aggressive "greeters" (this'll be obvious later) is walk through this door that looks like it's from an early '00s horror movie (it was probably built by someone that worked on those, considering the area) and sit inside of a fake padded cell and watch this documentary (in much higher quality than this, but this is what I could find online to post):



It's a bit difficult to show you the place, because they don't allow photos. But apparently, some people have either gotten permission or done it when no one was looking:



One of my favorite museums on earth (it kind of beats the shit out of The Museum of Death, but I still like them), only eclipsed by The Museum of Jurassic Technology (The Los Angeles Police Museum is pretty good too— check out the North Hollywood Shootout trophy room).

If there is a single place you could go that would let you see inside of David Dees mind— it's here:



A physical manifestation of MSM Boomer fearporn, there's not a single fucking thing they don't blame on psychiatry (and with such amazing craftsmanship)— from chattel slavery to the holocaust:





To school shootings and terrorism:



There's a section where you walk through a metal detector (that always goes off) into a classroom, this is after you walk through a recreation of some kind of '50s psych ward walled with glass cases filled with antique pill bottles and dozens of televisions playing old commercials for Zoloft: https://www.freedommag.org/issue/201411-...abuse.html



In every section there is a unique, shortform documentary you can watch to accompany the theme:



When you finally make it out, you are in a wonderful clean room filled with walls of FREE DVDs of every documentary you've watched (or not).

Can you see why I like the place?

Now in the middle of Hollywood, who the fuck could have the money to countersignal all the kike/fat woman obsession with psychiatry?



>Ottawa

EVERY. TIME.

That's right, our friends at The Church of Scientology! What, did you think normal people built this freakshow?

There's a lot of reasons why this is relevant to Dees, but the particular one is the genre of horror— Psychiatry: An Industry of Death is working off of mainstream media NEWS horror. Dees is not afraid of horror movies, he is not particularly interested in cryptids, aliens, ghosts, or demons. No, as a Boomer, he is most interested in the news as an outlet for occultism.
Dees stands in the long line of conspiracy David's (Icke, Lynch.. and maybe more), but his foremost interest is living through the news.
He is most afraid of Columbine, 9/11, The Holocaust, The Klan, The Freemasons, Skull & Bones.. all the great Geraldo Rivera MSM fear iconography of secret societies and government ongoings build his great mental terror-library which fuels his art:





It's always nice to see him win: