Elizabeth Garner

Today, I received a comment on one of my posts that read “the “woman” will probably continue to struggle for her important place in the (art) world for ever?” and much commiseration for my plight of the “art establishment” ignoring the truth and I can basically go jump in a lake with my findings because I’m not one of “them.” Of course no one ever asked me if I wanted to be one of them. I’ve been receiving many e-mails these days from all over the world, bravos, but you’ll get no where because you’re not their slave, and when I see a pattern like this, it’s always time to respond, swiftly and truthfully.

What I find the most amazing non-activity in  the last year of publishing on AAD is that I’ve sent my findings to all the German Dürer “experts” who have had my evidence for quite a long time, including the head of Prints at the Germanisches National Museum in Nuremberg who fled from the scene of a lunch when she realized the importance of the evidence I was showing her.  That was 6 years ago.  Not like the Germans didn’t have a heads up that there was new evidence about Dürer, their icon.  ALL the Germans have been sent the exhibition catalogues with the truth and even Yale professor Chris Wood, has called out the Germans in his article in the London Review of Books Vol. 35 No. 14 · 18 July 2013, pages 23-24 re the huge Nuremberg Dürer Exhibition in May 2012 which they are now selling the catalog from that exhibition. That catalog has now been released as a book, which is what Wood was reviewing.  He was quite unimpressed, especially about their insistence that NOTHING BIOGRAPHICAL is in a Dürer artwork.

The same has occurred with American Dürer “experts”-no response. No one wants to engage in any dialogue whatsoever, for how could they then continue to run symposiums churning out the same old pap from Erwin Panofsky? The typical response to evidence, stick your head in the sand and pretend it doesn’t exist.  I think the Met has certainly demonstrated this behavior with their suspect Van Gogh.

Truthfully, the biggest question that needs to be answered for all of you is SO WHAT? SO WHAT,  THAT A GENIUS HID A CODE IN HIS ART  500 years ago.  How does this affect YOU? Today?

BECAUSE WE ALL KNOW IT’S ONLY ABOUT YOU these days and always has been about YOU, YOU ARE THE CLIENT, IT’S ALWAYS ABOUT YOU if  one is a business owner and smart, and your STATUS, your ASSETS, your PORTFOLIO, and your BOARD POSTITIONS AT MUSEUMS. And how it affects your Alexander McQueen clutch (who happens to be one of my favorite designers).  So please don’t get the impression that I’m disrespecting you, just naming the truth instead of embedding it endless encoded mumbo jumbo that is developed in that strata.  At least we have math, which doesn’t lie.  You can do creative accounting but you can’t make math lie.  And there the eyeballs glaze over.


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Sorry, I don’t equivocate, it could be this, and it may be that. I do my research thoroughly before I make my statements, that’s what scientists do, they check their hypotheses, and assumptions before publishing.  Precision was required in my corporate world and dispassion about results, the computer was never wrong, it was and always is the people who make computers not work.  That was effectiveness, something sorely lacking these days at every level unless you live at Downton Abby and your underpaid illegal servants take care of your every need. You know like Juan, the Mexican gardener.

WHAT IS IMPORTANT TO YOU: There isn’t any more “art,” there are just assets, which the auction houses, in bed with the bankers like Goldman Sachs are swiftly derivatizing the art market as fast as they can, to repeat the mortgage collapse debacle and steal as much money as they can again. This is just “normal business, which we should expect.”  Never mind that Steven Cohen of SAC is going down the tubes like a waterside ride (and he actually cared about putting together a significantly important art collection because he has intelligence), JP Morgan is about to pay out the biggest fines in history and still be subject to criminal action, AND art show promoters are creating shows so you can buy “timeshares’” in art portfolios while steering you to the artists they have selected to become “famous” (normally called hedge funds-ah back to Steven Cohen who did it the best).  Everyone loves a train wreck, and you’d all have center seats at the Roman coliseum if they were available, next to the Emperor, if you could.  You substitute Sports boxes now.

As you’ve all read the news, Sotheby’s is in grand trouble again, Christies, owned by Pinault, was smart enough to take all private so he’s not subject to any illegalities while his companies can get away with anything except the US Justice Department can still get him, and most of the money available to pay such exorbitant prices for arts or jewels or whatever, is coming from the tech billionaires, who have little interest in art rather than making more games for the internet, and acquiring assets, or the Asians, who will spend anything they have to take over the world.  With the Swiss ever waiting to store such treasures or assets in old military bunkers, what wealth tax?  What wealth tax?

See, everyone wants to take over the world.  Always has been, always will be.

And the question of the decade in regards to art is “how can I make money off of it?”

Museums, which we all know were founded by the gilded age robber barons and as Rockefeller said was “mummy’s personal playground” in the CIA article a couple months back, struggles with trying to curate shows that will attract customers who really don’t care, while hiring or outsourcing jobs that pay around $25-29,000 to graduates who have probably dropped $2-300,000 dollars to acquire the old arcane “credentials” from “the prestigious universities” in their respective countries and “curate” these shows. I talk with many of them about what their prospects are, which are dim, as they describe them.  Enslaved by a hierarchy steeped in swift punishment for anyone with a brain or an “unacceptable” viewpoint that disturbs the money-making machines that exist with museums in reframing the same old rehash about their collections, most of which never see the light of day, because so many donors have given for tax purposes and they truly don’t know what to do with these objects.  Never even taking into consideration, the thefts because they never get funded properly to keep track of their holdings, or other countries laying claim to objects, or as we have been reading much about, have acquired fraudulent and non properly provenanced objects or are still holding onto Holocaust thefts. As Curtis Dowling has spoken, probably 40% of all pieces on the markets are not “real.”

By the way, if anyone watches American Greed: Scams, many of the shows are about art thefts and art dupes and forgeries, and the Knoedler Affair, plus the Van Gogh fakes are just small examples of this.  I was watching one of these last night and the FBI said art theft is the 4th biggest criminal activity in the world, complicated by the fact that the owners don’t really cooperate for fear of it leaking that they have been duped and despite all their expensive security systems, the criminals are smarter than them.

There’s nothing more embarrassing to a RICH buyer than being duped.  After all, YOU got rich, if a trust fund wasn’t involved, because of YOUR shrewdness.  Once again Bernie Madoff, where are you when we need you?

So let’s get back to YOU, since it’s always about YOU and your decorator, and what you can show off to your friends, and how many art fairs you can be seen at, drinking as much champagne as possible, wearing your designer clothes and showing off your jewelry (which of course is fabulous), while you buy baubles currently labeled art.  The photographer is the most important person at these shows, photographing you, not really the art.  And of course everything your art advisor steers you to should be totally trusted, since again, these are just assets, and the private financing is easily arrangible.

SO WHY SHOULD YOU care about Dürer’s >500 year old cipher?  After all the Dürer Cipher is hidden in PLAIN SIGHT. This cipher could have been cracked by anyone who stopped assuming, and had enough fortitude or guts, for among the grander scheme of things cracking this cipher wasn’t hard, it just required constancy in data checking and a shift in physical viewpoint.  It wasn’t rocket science. But NOT UNTIL 1971, when Nuremberg itself published the necessary data.  Amazing the entire city was filled with ‘world’ scholars who couldn’t recognize an anomaly if their life depended upon it.

SO WHAT DOES THIS HAVE TO DO WITH YOU?  Essentially every Dürer since 1971, when the data was available to figure out the truth (and it only took me 3 years because I was doing this all by myself with help from maybe two people occasionally-if I had a team, it would have been cracked in 6 months or less) has been MISREPRESENTED WHEN SOLD.  And therefore YOU DON’T KNOW WHETHER YOU OR YOUR MUSEUM HAS BEEN DUPED.

Which unfortunately comes down to YOU BEING EITHER IGNORANT OR STUPID (ignorant if you believed what everyone told you, stupid if you suspected what the seller was saying had something suspect about it) a most embarrassing position to be in because everyone knows it now. DO YOU LIKE BEING IN THIS SITUATION?

If you or your museum bought an absolute “religious” print, let’s say the Large Passion Flagellation, do you have a religious Christian print?  The answer is NO. You got duped.  If you contributed to special funding for a museum to acquire very rare or almost perfect Dürer prints, such as the Apocalypse or Adam and Eva or Nemesin, do you have Christian prints? NO.  DUPED AGAIN.

If it was a Madonna, you have a high probability of compromise by Albrecht or his sister co-artist Margret, especially when it comes to paintings.  I can hear the class action lawyers swarming already. And of course, the value of Dürer prints has skyrocketed since I’ve been revealing, I can’t correlate that definitively to my revelations, but I don’t think the information has been ignored either.

Since I have my computer set up for alerts about anything about Albrecht Dürer, I watch everything.  I catch auctioneers misrepresenting prints on a regular basis and write their presidents about the errors.  Not a thank you ever.  But I watch to see if they clean up their act.  I’ve noticed that the auction duopoly has stopped leaving Lot notes expounding about what the print is about since I’ve been publishing my findings.  Be wary if you see these.

So if you YOU don’t like being duped or embarrassed about your ignorance in art, STOP being ignorant and blasé.  If you want to show off your bling to your friends and having a Dürer print is certainly an action of knowing you are holding genius in your portfolio, something extremely hard to be able to say with other art, PAY ATTENTION to the Dürer Cipher and it’s import on YOU AND OTHER types of art you may choose to add to your portfolio.

Fool you once, shame on them, fool you twice shame on you.


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