Then there is the shocking, "Red man teaches white man to ride bareback," where a white cowboy is on a horse while an Indian rides behind him on the horse, astride two mounts (if you get my drift).Įqually shocking, is "Ceci n'est pas un pipe," where a cowboy is bent over a tree with his pants around one ankle and his rifle resting beside him as an Indian anoints him with bear grease in preparation for sodomizing him.
The painter offers political statements such as "Cree Master," where a bare-assed Canadian Mountie is being spanked by an arrogantly naked Cree man, and "Portrait of the Artist as Hunter," where an Indian is on the hunt for buffalo and white ass, and the taboo-breaking "Sacred Vows," where a white cowboy who is naked from the waist down, with an obvious white substance coating his buttocks, is begging his Indian stud to stay instead of leaving on his white horse (the message being that once you've been sodomized by a big-dicked red man you will do anything to continue on as his white bottom). These paintings are provocative, and yet clearly tell the untold story of Cowboys and Indians, where the cowboys were the bitches and the Indians the dominants, including "Pilgrim's Progress," where an Indian with a substantially large cock is clearly unimpressed by an effeminate white man with a much smaller but erect dick, a symbol of the true hierarchy of the red man's superior cock size (This comparison foreshadowing the 21 st century, where the inadequate white man has now become completely obsessed with black cock, big black cock). I speak of the truth of the gay and merry old West, as well as the truth of cowboys and Indians and the true nature of the games they often played. The works of this artist illustrate decades, even centuries, of a hidden truth recently coming out (pun intended) as ancestors speak of and reveal a history long forgotten in North American society. It was his provocative artwork about the western frontier (in both Canada and the United States) that opened the floodgates of curiosity about our hidden past.
The condemnation is sometimes complex, such as the abstract paintings like "Hope," "Love" and "Struggle for Balance," or bluntly honest about the long term negative impact of the white man on the red man in his heartbreaking depictions of children stolen from their families by church officials and Canadian Mounties in "A mother's Grief," or "Study of the Removal of Children." His work condemns the past and the treatment of Indians, First Nations, aboriginals or indigenous people (whatever politically correct or incorrect term you wish to use).
This story has just finally come to light because of the paintings of a Canadian aboriginal artist. The winners and the oppressors have been doing the recording (and the cover-ups) throughout recorded history, and perhaps no more poignant hidden history exists than the truth of the American frontier.Īlthough there is truth to many of the stories of the Wild West, there's one secret that's been kept hidden for over two hundred years. Most of the time, they are also the oppressors. PS: Western is not my forte so please don't judge me too much on this story.
Thanks to Tex Beethoven, Black Randi, thor_p, Robert, and Wayne for editing this strange attempt. Note 1: This is a special western themed story created by the lovely Black Randi. Summary: The shocking truth of the old west finally told.