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This article by Miles Mathis argues that the widely reported “Golden Suicides” of New York artists Theresa Duncan and Jeremy Blake in 2007 were a staged hoax, orchestrated by Intelligence agencies, likely the CIA. Mathis begins by critiquing an article by Andy Cush for Gawker, which he believes misdirects readers by presenting only two options: suicide or murder, while omitting the possibility of a fabrication.

Mathis scrutinizes various aspects of Duncan and Blake’s lives and alleged deaths to support his theory. He questions the “interests” listed for Duncan on Wikipedia, finding them too contrived, suggesting she was a manufactured persona created by a committee. He points to posthumous blog entries, particularly one referencing Basil Rathbone (Sherlock Holmes) and another featuring a poem by T. S. Eliot (linked to Intelligence and the “death of art”), as further evidence of a staged narrative designed to test the reader’s intelligence. Mathis asserts that the project of Intelligence has been to undermine traditional art and replace it with controllable propaganda.

He also notes suspicious connections related to Duncan, such as her purported work at the World Bank and Magnet Interactive, which he links to AKQA (a company he suggests implies “Intel”) and Nike. The title of a film pitch by Duncan, “Alice Underground,” is cited as another “spook marker.” Mathis draws parallels between Duncan and author Catie Disabato, suggesting they might be the same person or fronts for the same entity, and critically examines Disabato’s self-description and choice of pseudonyms. He also questions the authenticity of The Bling Ring story, its alleged ringleader Nick Prugo (an anagram), and the purported school attended by Diana Tamayo (Indian Hills High School) which he labels a CIA front, and which was allegedly funded by Will and Jada Smith.

For Jeremy Blake, Mathis highlights the lack of early biographical details and his repeated selection for the Whitney Biennial, which he claims is an Intelligence front alongside MOMA (associated with the Rockefellers and Vanderbilts). He argues that contemporary art, particularly that showcased at the Biennial, is often propaganda disguised as art, either intentionally poorly made or featuring shallow, politically relevant messages. Mathis connects Blake’s artwork “Winchester” (about Sarah Winchester) to Duncan’s blog title, “The Wit of the Staircase,” as further clues. He also links Blake to Malcolm MacLaren and the Sex Pistols, another purported Intelligence creation, suggesting the Sid Vicious/Nancy parallel is deliberate misdirection.

Mathis delves into the supposed deaths, questioning the lack of definitive proof and citing inconsistencies in reports about Blake’s body being found. He points to the unnatural location of Blake’s alleged drowning (Rockaway Beach) given the currents, suggesting it was chosen for its symbolic meaning (“gay beach,” “male bonding”). He also scrutinizes the account of Duncan’s body being found in the rectory of St. Mark’s Church in the Bowery, a venue he claims has been an Intelligence promotional facility for decades, linking it to figures like William Carlos Williams, Allen Ginsberg, and Patti Smith. The supposed discovery of Duncan’s body in her apartment instead of the church rectory is seen as a retroactive edit to conceal the obvious red flag.

Further complicating the narrative, Mathis analyzes Nancy Jo Sales, the author of a Vanity Fair article on Blake, suggesting she is a front, possibly for John Connolly, who is also implied to be a fabricated persona linked to Scientology and CIA. He notes that Sales’ former husband, Frank Morales, was a priest at St. Mark’s Church and involved with a group known for spreading disinformation. Mathis claims that the Vanity Fair article itself contains numerous inconsistencies and anachronisms, indicative of multiple authors. He points to contradictions in Blake’s supposed personality and interests, and Duncan’s supposed taste in music, which he deems anachronistic for a contemporary artist.

The article concludes by re-emphasizing the role of Intelligence in manufacturing events and personas to control public perception and sow fear and confusion, citing Project CHAOS and COINTELPRO as examples. Mathis believes the “Bogeyman” is not Scientology but the unseen entity controlling Intelligence. He argues that the entire “Golden Suicides” narrative, along with the promotion of fake artists and their art, and the manufactured fear surrounding the murder aspect, are all part of a larger plan to maintain control in what he calls “the MATRIX.” Mathis suggests that many famous people, like Duncan and Blake, may not even exist as depicted, but are hired actors whose biographies are fabricated and who can be easily “re-assigned” once a project is complete.

Summary:

This article by Miles Mathis alleges that the “Golden Suicides” of artists Theresa Duncan and Jeremy Blake in 2007 were a hoax orchestrated by Intelligence agencies, likely the CIA, to manipulate public perception and advance their agenda. Mathis systematically dissects the reported events, scrutinizing the artists’ backgrounds, alleged motivations, and the details of their supposed deaths. He identifies numerous “red flags,” including contrived biographical details, suspicious coincidences, and inconsistencies in media reports, suggesting a manufactured narrative rather than reality. Mathis connects the artists to various Intelligence fronts, including art institutions like the Whitney Biennial and MOMA, media outlets like Vanity Fair, and even companies and individuals he believes are involved in disinformation campaigns. He argues that the entire affair serves to promote fake artists and their work, while also generating fear and confusion through the alternate “murder” narrative, all within a larger scheme to control society, which he terms “the MATRIX.” Mathis concludes that many public figures, like Theresa Duncan and Jeremy Blake, may be fabricated personas played by actors.

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