Last week, our national conversation on\u2063 education hit a \u200cnew low. On an episode<\/a> \u200c of the \u201cNot Your Ordinary Parts\u201d podcast, Robin DiAngelo, \u200da professional\u200d race-baiter, used a classic piece of Renaissance art to \u2064push her\u200d agenda of undermining \u2062Western civilization. She claimed that Michelangelo’s masterpiece, the “Creation \u200dof Adam,” represents “white supremacy \u2063and patriarchy.” Let’s dive into the true \u200cintentions behind her ideological mission.<\/p>\n

The\u200b “Creation of Adam” \u2064is a renowned fresco painted by Michelangelo around 1511, located on the Sistine Chapel \u2064ceiling. It depicts God reaching out to touch Adam, a powerful\u200c image that captivates\u200b viewers. Giorgio Vasari, Michelangelo’s student and biographer, described Adam as a \u2063figure\u2062 of unparalleled beauty, \u2064created by God\u2064 himself. \u2063This depiction of God was groundbreaking for \u200bits time, showcasing the Lord\u2064 in full length with\u2062 bare \u200ctoes and \u2062kneecaps.<\/p>\n

In my own lectures on\u200c this artwork, I emphasize the body \u2064language \u2063of God and Adam. God reaches out with great effort \u2063to touch his beloved creation, while Adam’s response is lackluster at best. His\u2063 gaze is fixated on the female figure behind God, often identified as Eve. In this\u2062 single picture, Michelangelo simultaneously\u2062 praises God’s unwavering\u2062 love for humanity and condemns mankind’s indifference towards God, a indifference that \u2064continues to \u200blead to damnation.<\/p>\n

Deconstructing \u200cthe \u2064Deconstruction<\/h2>\n
Unfortunately, Robin \u2063DiAngelo fails\u200c to appreciate the\u2064 technical brilliance and theological\u200d depth of \u2064Michelangelo’s work. Instead, she deconstructs the image to fit her\u2064 crude political message. \u200cIn her own words:<\/p>\n
\n
When I\u2019m doing \u2063a presentation, I use a lot of images;\u200c you may\u200d be surprised that the single \u2062image I use to capture \u200cthe \u2063concept\u2064 of white supremacy is Michelangelo\u2019s Sistine Chapel. God creating man, you know, where God is in a cloud and\u200b there\u2019s all these angels and he\u2019s reaching out and he\u2019s \u2063touching, I don\u2019t know who that is, David or something\u2062 [sic], and God is white and David\u2019s white and the angels are white, like that is the perfect convergence of white supremacy, patriarchy, \u2062right? \u200c\u2026 I was raised\u2064 Catholic, so I saw many images like that as a child. \u2026 I don\u2019t \u2063think\u200b to\u200c myself, \u201cOh, God is white,\u201d but that\u2019s in a lot\u2063 of ways its power, right? I\u2063 always belong racially \u200cto what \u2062is seen, what is depicted as the \u200dhuman ideal.<\/p>\n<\/blockquote>\n
DiAngelo conveniently\u200c ignores the historical context and limited racial diversity of Renaissance art. Michelangelo, like his contemporaries,\u2063 based his depictions on the people he encountered in his daily life. Furthermore, she misidentifies the figures in the artwork, a \u2064mistake even a\u2062 young child could avoid.<\/p>\n
Too Much\u200b Education?<\/h2>\n
Perhaps the issue lies in DiAngelo’s extensive education.\u200c While my 7-year-old is just beginning his academic \u200cjourney and remains open to basic \u2063truths about\u200c humanity and divinity,\u2064 DiAngelo has \u2063spent decades training herself\u2063 to see white\u200b supremacy everywhere. It’s no wonder she projects her distorted views onto celebrated works of\u200b art. As G.K. Chesterton \u2062once said, her\u200b education has opened her mind so much that her brain has fallen out.<\/p>\n
Unfortunately,\u200c DiAngelo doesn’t \u2064stop at her own ignorance. She revels \u2064in spreading her\u2062 pseudo-intellectual disease of self-hatred and profiting from it. She earns over $700,000 per year\u2064 by promoting white self-hatred and blaming systemic racism \u200bfor the financial success of others. Even before the death of George \u2064Floyd, she had already\u2063 infected the educational establishment. The National Education Association incorporated her concept of “white fragility”\u2064 into their trainings\u200b and literature. \u200bThis ridiculous policy remains\u2063 in force,\u2063 while student test scores plummet.<\/p>\n
Burning Down the Chapel<\/h2>\n
DiAngelo’s website boldly states, \u200d”Racism\u2063 is \u2062the foundation of Western\u2064 society; we are socialized into a \u200dracial hierarchy.”\u2062 This is why\u200c she attacks Michelangelo’s “Creation of \u2063Adam” – she knows the power of visual imagery. If she \u200ccan \u2063convince\u2062 impressionable \u2064students that Michelangelo believed God was white,\u2062 it \u2062becomes\u2063 easier to \u2064discredit the works of Homer, Dante,\u200d Shakespeare, and the Founding Fathers. Western civilization,\u200b at \u200bits core, upholds timeless principles that\u200b apply to all \u2064humanity, regardless of race. Embracing these principles \u200bleads to \u200bhuman flourishing. \u200cDiAngelo cannot accept this truth because it undermines her \u2063self-flagellating doctrines. To continue her crusade, she must tear \u200ddown the Sistine\u2064 Chapel and erase its\u2064 awe-inspiring\u2062 representation of divine connection.<\/p>\n
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\t\t\t\t\t \t\t\t\t\t\t\t\t\t<\/div>\n
rnrn <\/p>\n
How does Robin \u2062DiAngelo’s interpretation of the artwork ignore the historical context\u2063 and limited racial diversity of\u200c Renaissance art?<\/h2>\n
\u2063 Last week, our national conversation on education hit a new low. On an episode of the \u201cNot Your Ordinary Parts\u201d podcast, Robin DiAngelo, \u200da professional race-baiter, used a classic piece of Renaissance art to push her agenda\u200d of undermining Western civilization. She claimed that\u200b Michelangelo’s masterpiece, the “Creation of Adam,” represents “white supremacy and patriarchy.” Let’s dive into the true intentions behind her ideological mission.<\/p>\n
The “Creation of Adam” \u2063is a renowned fresco painted by Michelangelo around \u200b1511, located on the Sistine Chapel ceiling. It depicts God\u200b reaching out to touch Adam, a powerful\u2062 image that captivates viewers. Giorgio Vasari, Michelangelo’s student and biographer, described \u200bAdam as a figure of unparalleled beauty, created by God himself.\u200b This depiction of God was groundbreaking for its time, showcasing the Lord\u2062 in full length with bare toes and kneecaps.<\/p>\n
In my own lectures on this\u2062 artwork, I emphasize the body language of God and Adam. God reaches out with great effort to touch his beloved creation, \u200dwhile Adam’s response is lackluster at best.\u2062 His gaze is fixated on the\u200c female figure behind God, often identified as Eve. In this single picture, Michelangelo simultaneously praises God’s \u2064unwavering love for humanity and\u200d condemns mankind’s indifference towards God, an indifference that continues to lead to damnation.<\/p>\n
Deconstructing the Deconstruction<\/p>\n
Unfortunately, Robin \u200dDiAngelo fails \u2063to appreciate the technical brilliance and theological depth\u200c of \u2062Michelangelo’s work. Instead, she deconstructs the image to fit her crude political message.\u200d In her own words:<\/p>\n
“When I\u2019m doing a presentation, I use a lot of images; you may be surprised that the single image I use \u200bto capture the\u2063 concept of white supremacy is Michelangelo\u2019s\u2064 Sistine\u200d Chapel. God creating man, you\u2062 know, where God\u200c is in a cloud and there\u2019s all these angels and he\u2019s reaching out and he\u2019s touching, I don\u2019t know who that is, David or something [sic], and God is white and David\u2019s white and the angels \u2063are white, like \u2062that is the perfect convergence of white supremacy, patriarchy, right? \u2026 I was \u2064raised Catholic, so I saw many images like \u200cthat \u200cas a child. \u2026 I\u200b don\u2019t think to myself, ‘Oh, God is white,’ but that\u2019s in a\u2063 lot of ways its\u2063 power, right? I always belong racially to what is seen, what is depicted as the human ideal.”<\/p>\n
DiAngelo conveniently ignores the historical context and limited racial diversity \u200dof Renaissance art. Michelangelo, like his contemporaries, based his depictions \u2062on the people he encountered\u2062 in his daily life. Furthermore, she\u200c misidentifies the figures in the artwork, a mistake even a \u2062young child could avoid.<\/p>\n
Too Much Education?<\/p>\n
Perhaps the issue lies in DiAngelo’s extensive education. While my 7-year-old is just beginning his academic\u200c journey and remains open to\u2064 basic truths\u200c about human nature, DiAngelo seems to have become so entrenched in\u200b her ideological mission that she \u2062can no longer appreciate \u200bthe beauty and complexity of a work of \u2064art without distorting it to fit\u2064 her narrative.<\/p>\n
In conclusion, the “Creation of\u200b Adam” by Michelangelo is a masterpiece that explores themes of divine love and humanity’s \u200crelationship with God. To reduce it to a symbol of white supremacy and \u200bpatriarchy 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 \u200btreasures in service of their own \u200cpolitical agendas.<\/p>\n","protected":false},"excerpt":{"rendered":"
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