#Pizzagate Trumpsters Track British Artist Maria Marshall At National Museum of Women in the Arts

Maria Marshall, “Future Perfect,” 1998. (Maria Marshall/National Museum of Women in the Arts)

“There are things here I cannot show you, that some of you aren’t going to be happy with,” says the narrator, whose #Pizzagate channel on YouTube has almost 8,000 subscribers. The tone of voice is scandalized, the language vaguely threatening. He suggests that a man seen in a video in which Marshall makes brownies for her family is a pedophile. I “don’t know what you’re going to do about it,” he says, with the implication that his followers should take their anger to the source. And then: “I’m going to make a video on it in hopes that the right person sees it.” (Note that the video may have been removed.)

#Pizzagate is not gone from America's national scene. The false-flag operation that targeted presidential candidate Hillary Clinton with a debunked conspiracy theory that Clinton joined John Podesta in running a human trafficking and child-sex ring out of a DC pizza restaurant has now swept British artist Maria Marshall into its garbage dump. 

In fact, Marshall's art will be considered 'evidence' of #Pizzagate truth by die-hard Trumpsters. 

Marshall is among the artists collected by Clinton campaign chairman John Podesta's brother Tony who, with his ex-wife Heather, donated many of the most substantial works that appear in 'Revival', an exhibition at the National Museum of Women in the Arts. The show celebrates the institution’s 30th anniversary and will be on view through September 10.

Maria Marshall, When I Grow Up I Want to Be a Cooker (1998). Courtesy of the Metropolitan Museum of Art.

Marshall's art was always designed to be provocative and political. And yes, her two sons Raphael and Jacob were her subjects and not only for economic or practical reasons.  One image that has incensed the alt-right and anonymous YouTuber is 'When I Grow Up I Want to Be a Cooker'. 

“Marshall’s mesmerizing scenarios of maternal fear and dread strike at the heart of Western culture’s commodification of childhood,” notes the Metropolitan Museum of Art in its description of the work, currently on view at the NMWA. Marshall’s son was not, in fact, smoking in the work, which is meant to reflect a new mother’s anxieties about not being able to control her children’s future or prevent them from developing harmful addictions.

“My work has always been dealing with fear,” said Marshall. “It’s an artist’s responsibility to be able to make work about what’s around you.”

Something tells me that this story is far from over. Looking over the videos focused on sex abuse in the #PIZZAGATE YouTube channel, I will check back to see if one is made about Australia's Cardinal George Pell, charged with multiple complaints of sexual assault and scheduled to appear at the Melbourne Magistrates' Court in Melbourne on July 18.  ~ Anne