I have decried the worship of this false prophet and anti-American antichrist Obama since he entered the Presidential Primary race. Many entries in this blog are warning against the false messiah worship of narcissists desiring power for themselves.
The Seig Heiling masses worshipping Obama range from the hilarious to the dangerous but now they are taking their views of their king to new levels of abomination and blasphemy.
To celebrate the fact that Obama has been in office for 100 days, artist Michael D’Antuono will unveil a 30″ x 54″ acrylic painting on canvas depicting President Obama like Jesus Christ on the Cross; atop his head, a crown of thorns. Behind him, the dark veil being lifted (or lowered) on the Presidential Seal. The artist attempting to raise debate by asking the question whether or not Obama is revealing or concealing and is he being crucified or glorified?
Personally, the question is irrelevant. The hysterical masses are feeding a hubris narcissist with a god-complex by depicting him AS messiah.
This just confirms the audacity of hope that a wayward people have in a man they crown king and savior.
Otherwise known in the scriptures as a false christ, or the man of perdition.
No words can describe this sickening depiction of false messiah worship.
To be revealed in NYC Union Square on the 100th day of Obama’s reign.
Thanks to Newscom for scooping the image.
UPDATE: Mark Hemmingway on NRO gives us this news:
I just got off the phone with D’Antuono, and he had some surprising news: he’s decided that he’s not going to unveil the painting after all. (Though he didn’t rule out a possible gallery showing later.) While being provocative is often the goal for a lot of artists, I asked D’Antuono if the strong reaction and news coverage of the painting was what he was hoping for, he quickly said “No, not really.” Here’s how he explained his decision not to show the painting:
The idea of the piece, or the reaction that I’d hoped for, was to highlight our nation’s deep partisan divide and how our interpretation of the truth is really prejudiced by our political perspective and I think that to a large degree we are being manipulated by the media. I miss the old day when we just have the facts. Now we have pundits and spin and strategists.
I just thought that through that painting people would see different things. The right and the left would have different interpretations of it based on their political lens. But I have to admit I was very surprised that instead of that I got thousands of email complaining on the religious front. And that was not my intent at all. I wanted to create a dialog politically but not religiously. I didn’t mean to make fun of anybody’s religion; maybe I did so naively but I didn’t mean it that way. In the bible Jesus is The Truth and comparing Obama that way isn’t something I meant to do at all.
Apparently, I’ve upset a lot of people. And I’ve decided that’s not what I wanted to do and I’m not going to display it in the park on Wednesday … art is meant to be somewhat provocative but the religious element went way farther than I had anticipated.
When I pressed him about the religious iconography at play, he did seem to indicate that he’d been genuinely naive. “I know, I know — I did put him in a crown of thorns, right?,” knowing full well that his ignorance seems hard to explain. As for the rest of the explained his own artistic vision for the painting, it certainly seems like he was sincere in trying to make a non-partisan statement:
There were a lot of elements and they just all came together. The black veil that he’s opening – or is he closing? Is he creating transparency in the presidency or is he closing the veil and shutting out the Right, governing his own way?
In any event, D’Antuono seemed surprisingly thoughtful given how outrageous the painting might seem at first glance. While many artists simply see provocation simply as means of promotion and feeding their egotistical desires, it’s pretty refreshing to hear an artist admit that cares more about what he’s trying to say than simply playing with the ambiguity of perception — let alone admit that on some level he failed to properly convey his artistic vision. If only the rest of the art world was similarly free of pretension and posessed the capacity to be self-critical.