Robin DiAngelo targets Sistine Chapel to dismantle Western civilization, not promote ‘antiracism
Last week, our national conversation on education hit a new low. On an episode of the “Not Your Ordinary Parts” podcast, Robin DiAngelo, a professional race-baiter, used a classic piece of Renaissance art to push her agenda of undermining Western civilization. She claimed that Michelangelo’s masterpiece, the “Creation of Adam,” represents “white supremacy and patriarchy.” Let’s dive into the true intentions behind her ideological mission.
The “Creation of Adam” is a renowned fresco painted by Michelangelo around 1511, located on the Sistine Chapel ceiling. It depicts God reaching out to touch Adam, a powerful image that captivates viewers. Giorgio Vasari, Michelangelo’s student and biographer, described Adam as a figure of unparalleled beauty, created by God himself. This depiction of God was groundbreaking for its time, showcasing the Lord in full length with bare toes and kneecaps.
In my own lectures on this artwork, I emphasize the body language of God and Adam. God reaches out with great effort to touch his beloved creation, while Adam’s response is lackluster at best. His gaze is fixated on the female figure behind God, often identified as Eve. In this single picture, Michelangelo simultaneously praises God’s unwavering love for humanity and condemns mankind’s indifference towards God, a indifference that continues to lead to damnation.
Deconstructing the Deconstruction
Unfortunately, Robin DiAngelo fails to appreciate the technical brilliance and theological depth of Michelangelo’s work. Instead, she deconstructs the image to fit her crude political message. In her own words:
When I’m doing a presentation, I use a lot of images; you may be surprised that the single image I use to capture the concept of white supremacy is Michelangelo’s Sistine Chapel. God creating man, you know, where God is in a cloud and there’s all these angels and he’s reaching out and he’s touching, I don’t know who that is, David or something [sic], and God is white and David’s white and the angels are white, like that is the perfect convergence of white supremacy, patriarchy, right? … I was raised Catholic, so I saw many images like that as a child. … I don’t think to myself, “Oh, God is white,” but that’s in a lot of ways its power, right? I always belong racially to what is seen, what is depicted as the human ideal.
DiAngelo conveniently ignores the historical context and limited racial diversity of Renaissance art. Michelangelo, like his contemporaries, based his depictions on the people he encountered in his daily life. Furthermore, she misidentifies the figures in the artwork, a mistake even a young child could avoid.
Too Much Education?
Perhaps the issue lies in DiAngelo’s extensive education. While my 7-year-old is just beginning his academic journey and remains open to basic truths about humanity and divinity, DiAngelo has spent decades training herself to see white supremacy everywhere. It’s no wonder she projects her distorted views onto celebrated works of art. As G.K. Chesterton once said, her education has opened her mind so much that her brain has fallen out.
Unfortunately, DiAngelo doesn’t stop at her own ignorance. She revels in spreading her pseudo-intellectual disease of self-hatred and profiting from it. She earns over $700,000 per year by promoting white self-hatred and blaming systemic racism for the financial success of others. Even before the death of George Floyd, she had already infected the educational establishment. The National Education Association incorporated her concept of “white fragility” into their trainings and literature. This ridiculous policy remains in force, while student test scores plummet.
Burning Down the Chapel
DiAngelo’s website boldly states, ”Racism is the foundation of Western society; we are socialized into a racial hierarchy.” This is why she attacks Michelangelo’s “Creation of Adam” – she knows the power of visual imagery. If she can convince impressionable students that Michelangelo believed God was white, it becomes easier to discredit the works of Homer, Dante, Shakespeare, and the Founding Fathers. Western civilization, at its core, upholds timeless principles that apply to all humanity, regardless of race. Embracing these principles leads to human flourishing. DiAngelo cannot accept this truth because it undermines her self-flagellating doctrines. To continue her crusade, she must tear down the Sistine Chapel and erase its awe-inspiring representation of divine connection.
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How does Robin DiAngelo’s interpretation of the artwork ignore the historical context and limited racial diversity of Renaissance art?
Last week, our national conversation on education hit a new low. On an episode of the “Not Your Ordinary Parts” podcast, Robin DiAngelo, a professional race-baiter, used a classic piece of Renaissance art to push her agenda of undermining Western civilization. She claimed that Michelangelo’s masterpiece, the “Creation of Adam,” represents “white supremacy and patriarchy.” Let’s dive into the true intentions behind her ideological mission.
The “Creation of Adam” is a renowned fresco painted by Michelangelo around 1511, located on the Sistine Chapel ceiling. It depicts God reaching out to touch Adam, a powerful image that captivates viewers. Giorgio Vasari, Michelangelo’s student and biographer, described Adam as a figure of unparalleled beauty, created by God himself. This depiction of God was groundbreaking for its time, showcasing the Lord in full length with bare toes and kneecaps.
In my own lectures on this artwork, I emphasize the body language of God and Adam. God reaches out with great effort to touch his beloved creation, while Adam’s response is lackluster at best. His gaze is fixated on the female figure behind God, often identified as Eve. In this single picture, Michelangelo simultaneously praises God’s unwavering love for humanity and condemns mankind’s indifference towards God, an indifference that continues to lead to damnation.
Deconstructing the Deconstruction
Unfortunately, Robin DiAngelo fails to appreciate the technical brilliance and theological depth of Michelangelo’s work. Instead, she deconstructs the image to fit her crude political message. In her own words:
“When I’m doing a presentation, I use a lot of images; you may be surprised that the single image I use to capture the concept of white supremacy is Michelangelo’s Sistine Chapel. God creating man, you know, where God is in a cloud and there’s all these angels and he’s reaching out and he’s touching, I don’t know who that is, David or something [sic], and God is white and David’s white and the angels are white, like that is the perfect convergence of white supremacy, patriarchy, right? … I was raised Catholic, so I saw many images like that as a child. … I don’t think to myself, ‘Oh, God is white,’ but that’s in a lot of ways its power, right? I always belong racially to what is seen, what is depicted as the human ideal.”
DiAngelo conveniently ignores the historical context and limited racial diversity of Renaissance art. Michelangelo, like his contemporaries, based his depictions on the people he encountered in his daily life. Furthermore, she misidentifies the figures in the artwork, a mistake even a young child could avoid.
Too Much Education?
Perhaps the issue lies in DiAngelo’s extensive education. While my 7-year-old is just beginning his academic journey and remains open to basic truths about human nature, DiAngelo seems to have become so entrenched in her ideological mission that she can no longer appreciate the beauty and complexity of a work of art without distorting it to fit her narrative.
In conclusion, the “Creation of Adam” by Michelangelo is a masterpiece that explores themes of divine love and humanity’s relationship with God. To reduce it to a symbol of white supremacy and patriarchy is a gross oversimplification and undermines the true artistic and theological intentions of the artwork. We should be cautious of individuals who seek to deconstruct and distort cultural treasures in service of their own political agendas.
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