Surrey, British Columbia, August 29, 2013 — 8:16 pm
I’’m 53-years-old, single, and ready to marry for life — “for keeps” — any sane female who owns a heavy-duty sniper rifle. (Smiley face here.) I’’d really rather make love than war. Is this my last post/message to the world?
Who was Emily Carr and why am I writing about her on the eve of Apocalypse Now, on the eve of the U.S. bombing Syria back to the Stone Age? Folks, this is the Cuban Missile Crisis on Steroids! If Russia doesn’t back down, (and there isn’t any indication that she will) you can bet your bottom dollar that a nuclear holocaust will ensue in the next week or two. So who cares about art or Emily Carr in these final days before we all meet the devil? Well, I care, and I want to quickly get these words down before we all become crispy critters. I had wanted to write an essay on Carr ever since the spring of 2011, when I had created a series of 10 artworks dedicated to her. It’s now or never.
Emily Carr, the artist, as opposed to Emily Carr, the University named after her, was born on December 13, 1871 in Victoria, British Columbia. She lived to the age of 74 and died on March 2, 1945, at the James Bay Inn in her hometown of Victoria. The following is from Wikipedia: “Emily Carr was a Canadian artist and writer heavily inspired by the indigenous peoples of the Pacific Northwest Coast. One of the first painters in Canada to adopt a modernist and post-impressionist painting style, Carr did not receive widespread recognition for her work until later in her life. As she matured, the subject matter of her painting shifted from aboriginal themes to landscapes, and in particular, forest scenes. As a writer, Carr was one of the earliest chroniclers of life in British Columbia. The Canadian Encyclopedia describes her as a ‘Canadian icon’.”
In her essay that accompanied a recent and unlikely exhibition at the Burnaby Art Gallery of Emily Carr’s paintings alongside those of the obscure Irene Hoffar Reid, Sofia Stalner writes:
“The artists in this exhibition, Emily Carr and Irene Hoffar Reid, might seem to be opposite sides of this memory divide: Carr is B.C.’s most well known artist and viewed as a regional treasure while Hoffar Reid has been largely forgotten, or ignored, in the art historical account of the region. However, history, and what is considered worthy of inclusion in a history, is neither singular nor static; instead it is an ongoing process of which we are all a part. The official art history of British Columbia is only one, stylized, story in a multitude of memories and stories connected to this particular place.”
Basically, Ms. Stalner believes that Hoffar Reid was just as good an artist as Carr. But whereas Hoffar Reid led the conventional life of a married woman and mother, Carr never got married and remained an eccentric all her life and her best friend was arguably, and pathetically, her pet monkey named Woo. This, as insipid and vapid as it appears at face value, is probably why Carr became the icon that she is today and why the first art college-cum-university in this province was named after her and not after Hoffar Reid. Less blunt than me, or rather more expository than me, Ms. Stalner expands on this point in her essay, “Shifting Margins: Emily Carr and Irene Hoffar Reid,” published for the exhibition:
“However, it is also important to note the ‘categories’ of femininity being constructed by the art historical canons and which ‘categories’ are favoured. The perceived eccentricity and rebellious nature of Carr is now seen as something positive; she is constructed as someone who did not conform and as a proto-feminist. From a present day perspective Carr is viewed as a cool and independent woman and therefore she is worth remembering. Her paintings are often used as ‘evidence’ of Carr’s independence and non-conformist personality. They are thought to show her break both with Victorian artistic conventions of her youth as well as gender norms of the 1930s.
“Irene Hoffar Reid, on the other hand, seems to have led a more conventional life with a promising artistic career in her younger years, which was then put on hold during the time when she had young children and then continued until her death in 1994. In contrast to Carr, the motifs of Hoffar Reid’s work have led, I believe, to her being sometimes regarded as conventional and domestic. That domestic or personal subjects are thought of as less important than other subjects are of course also a gender normative notion that describes these themes as female and subjective. Unlike her peer Vera Weatherbie, who in several texts is referred to as ‘Varley’s girl’ and then later as ‘Harold Mortimer-Lamb’s wife,’ Hoffar Reid does not seem to have had romantic ties to any of the male artists, which is otherwise a sure way to get remembered.”
Was Emily Carr a feminist without knowing it? And if she was, was this a good thing or not? Does being a feminist make Carr more memorable or more worthy than Hoffar Reid for canonization? Obviously it does. Wikipedia doesn’t even have an entry for Irene Hoffar Reid, but it does have extensive information and a respectful page for Emily Carr. This page in question also lists two rather interesting biographies for Carr. The first one is called “Canadian Artist Emily Carr: A Psychoanalytic Portrait,” which is a 2011 unpublished thesis for the International School of Analytic Psychology in Zurich written by Phyllis Marie Jensen, Ph.D. The other biography is a creative writing piece by novelist Susan Vreeland in 2004, The Forest Lover, which “is based on events from Carr’s life, using Emily Carr as the main character/protagonist and altering some characters and chronology for the purpose of pacing. Each part of the novel is introduced by a reproduction of an actual Carr painting.” (Wikipedia). Besides having a university named after her, Carr has spawned several cottage industries along the way, it appears, and the exhibition and analysis of the works of the obscure and forgotten Hoffar Reid in comparison to Carr by Ms. Stalner is all the more remarkable and brave, and original in light of this fact.
The biography by Phyllis Marie Jensen “Canadian Artist Emily Carr: A Psychoanalytic Portrait” is quite provocative, though I haven’t actually read it. I’ve fired off an email to her requesting a copy but I’m not holding my breath. Or rather, the title of her biography is provocative, just as the title of my series of artworks was also meant to be provocative. However, I wasn’t serious; my artworks are not meant to be a Freudian analysis or Freudian interpretation of Carr, not exactly. I am not referring to Sigmund Freud but rather to Lucian Freud, the English painter who just happened to be the grandson of the famous psychoanalyst. Lucian Freud passed away a couple of years ago at the ripe-old-age of 89 and was best known for his figurative paintings of naked fat people, or is this not politically-correct to say anymore? Probably not, just as it is probably not kosher to depict the Canadian icon of painting as a naked fat pig a la mode Lucian Freud. This was the extent of the conceit, no more and no less, when I chose the title “Emily Carr: A Freudian Analysis” for my series of artworks dedicated to Carr back in the spring of 2011.
Back to the future or rather the present and a reality check: As the U.S. prepares to start yet another war — the third one in less than 10 years; excluding the extra-judicial sorties and the 20 thousand-plus people killed by Obama’s drones in Yemen, Pakistan, and Bahrain in only the last 4 years — the news of the day that has Americans mesmerized is not the impending World War 3 with Russia and China, but Miley Cyrus. According to Google, Miley Cyrus has over 8 million clicks as of today, as opposed to a few thousand clicks for Syria. And the reason for all the YouTube traffic going to Miss Miley is……? Apparently, a young girl sticking out her tongue and bending over like a bitch at the MTV Video Music awards and simulating being humped from behind, “doggie-style” by Robin Thicke (our dubious Canadian footnote to The End of Times) is decidedly more deserving of our attention.
But of course it is. It has been honed over a hundred years by the people at Madison Avenue and now the ability to distract and control and lead the dumb masses into war has become an exact science. Even if we are lucky and stave off Armageddon in the next few weeks, the radioactive plume from the Fukushima Daiichi nuclear disaster of March 11, 2011 is finally expected to arrive in about 4 months’ time, after almost 3 years of drifting across the Pacific Ocean. Once here on the Westcoast, it’s expected to linger indefinitely over us, over the beloved rain forests immortalized by Carr’s paintings, needless to say. But Emily Carr and her art are undoubtedly the last and least of our concerns as people die off like flies from cancer and leukemia in the coming years. In fact, recent tests of radioactive particles in our air have reached life-threatening levels in cities as far south as San Francisco. If you don’t believe me, read the articles about Fukushima at rense.com because you’re not going to get the truth from either our politicians or the mainstream or rather lamestream Media.
One way or another, the NWO (New World Order) banksters will kill us. Sooner or later, but better later. If the NWO wants to de-populate us, the NWO will de-populate us. It’s that simple. This is why the most dangerous extinction event in modern times has been virtually buried and blacked-out by their Controlled Corporate Media. I never thought much of David Suzuki and his doomsday shtick about global warming, but I’m now convinced he’s a fraud for not sounding the alarm bell about eating glow-in-the-dark sushi. Incidentally, where the freak is Paul Watson and Greenpeace? Our beautiful and life-sustaining sea creatures are being ‘genocide-ed.’ Two weeks ago, (August 12, 2013) a front-page picture and story of herring fish bleeding out of their bodies and eyes was published by the “24hrs” free newspaper. (I refuse to patronize and pay for any newspaper these days.) But none of the so-called experts had enough brains or courage to point the finger at Fukushima and the 300 tonnes or more of radioactive poison hemorrhaging out of that idiotically-situated nuclear plant on a daily basis for the past 2.5 years. WTF?!
At the end of the day, literally, under the present circumstances, everybody we trusted or wanted to trust have turned out to be major disappointments and frauds of the highest order. Betty Davis, the Hollywood movie star of the 1930s and consummate professional, once memorably said that all her relationships and marriages were disappointments and that the only thing that gave her any real satisfaction was her work. Likewise, nothing satisfies me or sustains me more than my own work and my own art and this is why after two years of procrastination I am finally writing my essay on Emily Carr as I tick off all my unfinished tasks on my bucket list before I meet the devil.
I end with how I started: I’m 53-years-old, single, and ready to marry for life — “for keeps” — any sane female who owns a heavy-duty sniper rifle (Smiley face here.) I’d really rather make love than war. Is this my last post/message to the world?
Surrey, British Columbia, August 30, 2013 — 5:05 pm
Update: August 8, 2014
Two days ago I came upon the following comments made by Rerevisionist at the Radical Press website in response to an article by Trevor LaBonte entitled, “Politically Incorrect Truths About History, Current Events Surface in Sea of Information”:
The picture of the Jewish 20th century is coming into focus. May I just enter a plea for consideration of another piece of this jigsaw. The evidence points to nuclear weapons being yet another jewish money-making and behavior-controlling fraud. If this is true Israel has an Achilles heel…!
Here is my response to the above quotation by Rerevisionist:
Yours is a highly provocative and thought-provoking site… I spent about 4 hours reading the articles and listening to the videos.
The good news is that the Pacific Ocean is not dead and I can eat sushi again after I stopped eating it 9 months ago thinking that it was irradiated by Fukushima.
The bad news is that we can’t nuke Israel anymore… but then again… nor can the Jews nuke the world with their Sampson Option. All of this isn’t really bad news but great news!
I remain cautiously optimistic about the world, more optimistic and less cautious than yesterday, when I had not yet encountered your site. After all, if the genocidal Jews really had nuclear bombs, they would have used them years ago, like the minute (split second) that they were ready for use.
Rerevisionist’s thesis is thus:
 Nuclear bombs are a hoax.
Hiroshima and Nagasaki were destroyed by incendiary bombs; not by the Atomic-bomb, which does not exist. Moreover, the films of the subsequent Hydrogen-bomb tests from the 1950s and 60s look incredibly amateurish and fake and simply unbelievable today.
 Nuclear power is almost certainly a hoax too.
There is nowhere in the world powered exclusively by nuclear power. Nuclear plants are probably used as electric dump-loads (i.e., a place where excess electricity is ‘dumped’ to keep the grid at optimal performance). In other words, so-called Nuclear Power Plants don’t generate any electricity but waste it!
Why have we been so monstrously lied to by our leaders and kept in a perpetual state of fear and anxiety? Have you ever noticed that “nuclear weapons” have never deterred us from starting wars, but are perversely used as a reason to start wars instead? We invaded Iraq because of Weapons of Mass Destruction, which we later found out did not exist. Now the Jews want us to invade Iran because of its supposed Nuclear Arms Threat. Whom exactly is threatened, we in the West or the Jews in Israel? Folks, this is nothing but another wicked Jew Lie and Scam and potentially just another Ritual Slaughter of the Goyim for the Jews.
As I write, August 8, 2014, the Jews have just recently slaughtered about 2,000 men, women, and children in Gaza, wounded about 10,000, and made about 600,000 Palestinians homeless. Canada’s Prime Minister, Stephen Harper, and all the Jew-bought-and-paid-for politicians, including B.C. Premier, Christy Clark, have publicly declared that “they stand with Israel” and endorse this latest Genocide in Gaza. It is painfully clear to me that we no longer have a representative but occupied and hostile government here in Canada. Welcome to Zion North!