In the 2014 Budget the Abbott federal government made some small cuts to arts funding. The Australia Council budget of $222 million annually was cut by around $10 million. While it’s pleasing to see cuts being made this really is a pathetically timid and inadequate beginning.
The issue the government needs to address is whether the government should have any role at all in the arts. State-subsidised “art” is almost always dire and more often than not the results are not art at all but political propaganda. This might have seemed like a great idea in the heyday of the Soviet Union but it is hardly appropriate in a free society.
State subsidies to the arts have the effect of enforcing political correctness in the arts. Any writer, artist or film-maker hoping for a government grant knows that even the smallest trace of political correctness, even the faintest hint of independent thought, will be enough to ensure that they miss out on a grant. The arts cannot possibly flourish in such a Soviet-style system.
The reality is that a great many people who currently describe themselves as artists or writers are merely deluding themselves. If you cannot make a living from your art that probably means your art isn’t any good. If no-one wants to buy your art then the obvious conclusion is that you should start looking for another job. You should not expect the taxpayer to support you in luxury for the rest of your life. We also need to ask ourselves how many artists and writers we actually need. If a large proportion of these people can’t support themselves from their art then it is likely that the art and literary markets are suffering from a serious over-supply of artists and writers.
Government subsidies for the arts are nothing more than welfare payments to a self-appointed elite of spoilt parasites. It’s time the arts gravy train was cancelled.
I’ve been getting into 1950s anti-communist movies recently. These movies have for years been dismissed by liberal film critics as paranoia movies. In fact they depict the activities, the methods and the mindset of communists pretty accurately. And at least a couple of these movies can be regarded as pretty good examples of film noir.
I’ve reviewed two these films recently on my classic movies blog – RKO’s 1949 production The Woman on Pier 13 (originally released as I Married a Communist) and Warner Brothers’ 1950 offering I Was a Communist for the FBI. The latter was based on a true story. Both movies deal with communist infiltration of labour unions, which was in fact one of the favoured methods of the Communist Party at that time, both in the United States and in other countries.
If these movies have a fault it’s perhaps that they let the unions off the hook too easily, but Hollywood has always been a union so it was unlikely that a movie critical of the union movement was ever going to get made. In fact given the large-scale real-life communist infiltration of Hollywood and the domination of Hollywood by liberals it’s surprising that these anti-communist movies got made. The only problem with the movie industry’s response to communist infiltration, the blacklist, is that it didn’t go far enough.
Both of these movies are worth a look, both for their historical interest and as worthy examples of the film noir of the period. They’re a reminder of a time when Americans were still willing to fight back against leftist tyranny.
No-one who’s ever been unlucky enough to wander into a museum of modern art could doubt that art since the Cubists has had an obsession with the rejection of beauty. To many modernist and postmodernist artists and critics ugliness seems to be synonymous with Serious Art.
Artists who continued to pursue the ideal of beauty in the 20th century found themselves marginalised and scorned.
This is not accidental. It reflects an entire worldview, a belief that there is nothing to celebrate in western civilisation, and that the purpose of art is to attack our own civilisation. There is an agenda to make art depressing, negative, squalid and generally miserable, a celebration of victimhood rather than a celebration of truth and beauty.
The purpose of what has passed for art since the early 20th century is to demoralise the popluation of the west. Modern art is in fact a hate crime against western civilisation.
In 1932, Stalin directed the Communist Party apparatus in the U.S. to “cultivate the ugly, futuristic and aberrant in art, literature, the drama and music. Every sick-brained fanatic must be used, every talented artist must be discouraged. Control all juries of selection, but by a bare majority. Never shut out the regulars entirely. Give the prizes to the worst, most hideous and worthless paintings or sculpture in the show. Keep rational art out of all public exhibitions, allow only empty or distorted art to be shown in museums, dealers’ exhibits. Eliminate all good sculpture from parks and buildings, substitute shapeless, awkward and meaningless forms.
“It is astonishing what we have been able to get away with. Even our most experienced experts directing operations can scarcely believe it. No good citizen wants to be the first to step up and protest! It is almost a shame to take advantage of these silly, cowardly people.”
The worst part is that much of this so-called art is paid for for by the taxpayer. If these overgrown babies want to throw their toys out of the pram let them do so, but they should buy their own toys and their own prams.
NSW taxpayers are no doubt currently overjoyed that their government is
flushing down the toilet wisely investing more millions of their hard-earned dollars in grants to the arts community. About another $15 million. Including $91,600 to the De Quincey Company Ltd, a group of parasitical drones artistic visionaries who have given the world such important works as this:
Now I know that to you it might just look like a clown with his head inside a rubbish bin but it’s actually making an important statement about….something. No-one knows what, but it’s undoubtedly a highly significant statement. Because, you know, it’s art.
And to think that governments used to fritter away public money on unimportant trifles like roads, schools and hospitals. While the arts languished. Creative individuals with important things to say were unable to do so because they couldn’t get the funding to buy rubbish bins. Now thanks to the government’s
stupidity visionary policies thousands more worthless arty spongers artists will be able to afford rubbish bins so they can express themselves.
Of course some of those taxpayers may feel like expressing themselves in slightly different terms about all this but that just shows the mindless philistinism the arts community has to deal with (poor darlings). If those taxpayers all had the benefits of arts degrees they’d see at once just how much the arts community contributes to this country. Without the arts community where would we find people to stick their heads inside rubbish bins?
Rubbish bins are a vital creative tool. They express so much. In fact they express rather neatly the value of the arts community.