Churches have been a favorite target of racists — but the latest example does not involve the Ku Klux Klan or a southern Black church. The narrative this time centers on a woman in 2024 with a Ph.D., Robin DiAngelo. She believes the Sistine Chapel in Rome represents “White supremacy.”
Michaelangelo's Sistine Chapel painting is apparently peak white supremacy to Robin D'Angelo.
Funny because I think Robin D'Angelo is peak white supremacy.pic.twitter.com/9ctOjWMDZE
— Adam B. Coleman, President of Aintblackistan (@wrong_speak) February 7, 2024
DiAngelo is an author and professor of education at the University of Washington. She has made a lucrative career from her White guilt and has coined the term “White Fragility”, which was an Oxford Dictionary “Word of the Year” candidate.
Ms. DiAngelo’s default mode is to see racism in her soup. In a recent podcast, she enlightens listeners about the White supremacist boogeymen lurking in Michelangelo’s masterpiece on the ceiling of the Sistine Chapel in the Vatican.
Her scholarly analysis of the “Creation of Adam” painting is indeed worthy of someone with a doctorate:
“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?”
Perhaps this assessment is more akin to a fifth-grader’s flawed rough draft for a research paper after having paid no attention in class.
It could be that DiAngelo was busy attending a protest during a class session teaching that the painting is actually called “Creation of Adam.” Or being raised Catholic, perhaps she wasn’t paying attention in Sunday School. The man toward whom God is reaching in one of history’s most recognizable images is actually Adam, not King David. Depending on one’s interpretation of Bible timelines, she is off by thousands of years.
Actually, DiAngelo’s gaffe is to be forgiven because her Ph.D. is in “multicultural education” rather than an actual academic discipline.
She assumes Michelangelo’s figures are White due to modern-style racism, but that’s because she wrongly presumes all urban areas in 1512 looked like south central Los Angeles in 2024. Cities were not “diverse”, because most of the world’s population did not travel as frequently or as far as is normal today. Michelangelo’s life experiences were from White Europeans, so the subjects in his paintings naturally had these features.
She fails to recognize that human figures in the art of all cultures and ethnicities have resembled that of the artist’s experience. Few ancient Chinese images feature subjects from Tanzania.
The vast majority of the world for five centuries — including people of all origins —has recognized Michelangelo’s work as among the finest ever created. The narcissistic DiAngelo takes absurd Marxist progressive ideology to new levels. In her war on Western Civilization, she enlightens the world about racism it never knew existed until her infinite wisdom discovered it.
