It was a tense few hours a week ago at the Metropolitan Museum of Art. It wasn’t a large crowd that had gathered — 50 or 60 — but they were focused, angry, and determined to right a grotesque situation which one angry protester said “had gone on way too long.”
The object of their derision and evident nausea was the marble rendering of Venus de Milo by Alexandros of Antioch, a Greek sculptor of the Hellenistic Age.
The incensed mob, wielding ropes, pick axes, and sledgehammers fought their way past the security guards attempting to block the entrance doors, then rushed at the offending sculpture. Had not the museum’s director intervened, no question that this masterpiece, which had graced the lobby for several decades, would within minutes have been turned into a pile of over-priced gravel.
A spokesperson who might have just arrived from an Insane Clown Posse concert or an Extinction Rebellion rally shouted through a bullhorn.
“How can you have such a disgusting symbol of primitive values in full sight of not just undeserving adults but the thousands of children who come here? It’s exploitative, gender rigid, misogynistic, insensitive — just plain WRONG, WRONG, WRONG on every level. How many innocent boys have been turned into haters and rapists by this sexualized carving, this symbol of moral mayhem, this overt enticement to erotic anarchy? How many young girls been body-shamed and driven to suicide by its faux submission to modesty and subliminal glorification of coquetry?”
Without having any clue what the leader of the woke mob was saying, Max Hollein, current Appointed Director of the Met, managed to calm the irate protesters down, and convince the grumbling, weeping, giggling, frantic, but mostly neutered protestors that something could be worked out, a compromise was possible. No way was Mr. Hollein going to stand by while such a masterpiece was turned into rubble.
The world-renowned museum was closed for three days. Behind the locked doors, the woke protesters went to work. There was understandably a lot of back-and-forth between the woke crowd and the staff who ignorantly still embraced a traditional world view, but eventually compromises were made, the museum re-opened, and visitors hungry for the enrichment of great art were able to fully enjoy an “acceptable”, fully PC-friendly version of the disputed sculpture, one which was pan-gender sensitive and fully inclusive.
As one of the protesters promoting the transformation of society to a higher state of woke consciousness said: “My gender is neutrois and my pronouns are xe, xem xyr. Xe think this is great! We are one step closer to a world which makes sense for everybody, not just some lascivious old white men.”
Woke Venus de Milo
It was a tense few hours a week ago at the Metropolitan Museum of Art. It wasn’t a large crowd that had gathered — 50 or 60 — but they were focused, angry, and determined to right a grotesque situation which one angry protester said “had gone on way too long.”
The object of their derision and evident nausea was the marble rendering of Venus de Milo by Alexandros of Antioch, a Greek sculptor of the Hellenistic Age.
The incensed mob, wielding ropes, pick axes, and sledgehammers fought their way past the security guards attempting to block the entrance doors, then rushed at the offending sculpture. Had not the museum’s director intervened, no question that this masterpiece, which had graced the lobby for several decades, would within minutes have been turned into a pile of over-priced gravel.
A spokesperson who might have just arrived from an Insane Clown Posse concert or an Extinction Rebellion rally shouted through a bullhorn.
“How can you have such a disgusting symbol of primitive values in full sight of not just undeserving adults but the thousands of children who come here? It’s exploitative, gender rigid, misogynistic, insensitive — just plain WRONG, WRONG, WRONG on every level. How many innocent boys have been turned into haters and rapists by this sexualized carving, this symbol of moral mayhem, this overt enticement to erotic anarchy? How many young girls been body-shamed and driven to suicide by its faux submission to modesty and subliminal glorification of coquetry?”
Without having any clue what the leader of the woke mob was saying, Max Hollein, current Appointed Director of the Met, managed to calm the irate protesters down, and convince the grumbling, weeping, giggling, frantic, but mostly neutered protestors that something could be worked out, a compromise was possible. No way was Mr. Hollein going to stand by while such a masterpiece was turned into rubble.
The world-renowned museum was closed for three days. Behind the locked doors, the woke protesters went to work. There was understandably a lot of back-and-forth between the woke crowd and the staff who ignorantly still embraced a traditional world view, but eventually compromises were made, the museum re-opened, and visitors hungry for the enrichment of great art were able to fully enjoy an “acceptable”, fully PC-friendly version of the disputed sculpture, one which was pan-gender sensitive and fully inclusive.
As one of the protesters promoting the transformation of society to a higher state of woke consciousness said: “My gender is neutrois and my pronouns are xe, xem xyr. Xe think this is great! We are one step closer to a world which makes sense for everybody, not just some lascivious old white men.”