Further to this discussion, and this one, here’s Kingsley Amis in 1985, describing the Arts Council: 

Grants and bursaries from this detestable and destructive body in effect pay producers, painters, writers and such in advance. This is a straight invitation to them to sod the public, whose ticket money they are no longer obliged to attract, and to seek the more immediate approval of their colleagues and friends instead… Thus an organisation created to foster art and bring it to the public turns out to be damaging to art and cutting it off from the public.

And not coincidentally, we have a situation in which the supply of artists dwarfs the actual demand and in which the supposed patrons – taxpayers – are being billed for a product they all too often don’t want and didn’t ask for. Because ostentatiously leftwing dirt relocation and the tearing up of grass, along with the state funding of buskers, hookers and non-existent poetry, is now regarded by some as part of the welfare state. It’s what some grown men and women aspire to do with their time. And with the money you had to earn.

As noted previously, many times, there’s an air of grandiose entitlement, an urge to circumvent indefinitely the preferences of the public, who are nonetheless expected to serve as patrons, albeit patrons with no say in how or on whom their earnings are spent. And no right to ask for a refund should things go badly wrong. And so despite the obligatory egalitarian blather, what comes to mind is a caste system, in which the lumpen taxpayer is forced to bankroll self-anointed Brahmins, our cultural superiors, who profess their modish leftism while extolling the virtues of a non-reciprocal and parasitic relationship.

Update:

In the comments Sam points us to the latest from Polly Toynbee, in which she ostensibly counsels against the disdain shown by her peers for the new culture minister. Yes, he’s a Tory, and from a working class background. Oh, the indignity. But needs must. And note that Polly’s objection to the casual snobbery of her fellow Guardianistas is merely tactical:

The arts world didn’t react well to the appointment of the former banker Sajid Javid. Several writers led the great rumble of artistic disdain toward the new culture secretary… This seems to me a mistake, more likely to have Javid reaching for his revolver than falling for the charms of culture. Worse, the public might think it smacks of a familiar elitism that suggests the mysteries of the arts are not for the uninitiated.

So perhaps Mr Javid can yet be saved by his betters, despite the heathen’s lack of an “artistic hinterland,” as determined by Ms Toynbee. Readers may be entertained by Polly’s trademark fumbling with numbers and reliance on the fanciful, often baffling claims of Arts Council literature. Though if you’re pushed for time, commenter Charlie Suet points out that the Guardian’s foremost columnist is essentially “asserting that because The King’s Speech made money, we should subsidise mime artists in Brighton.” 

Via Kate and lifted from the comments here, some more “public” art, chosen by our betters to make us better people:

“The question of beauty has been brought up a lot in this debate, which is a really provocative and sometimes problematic conversation,” she said. “I don’t think all work that is made in a public setting should necessarily be made with the mandate of making a space more beautiful.”

The locals, however, don’t seem terribly impressed. 

The artist in question, Keeley Haftner, describes her work as “emerging through notions of tradition, satire, gender, archive, labour, and transience.” Readers will be thrilled to discover that Ms Haftner’s previous efforts are no less colossal in their scope and profundity. Behold, for instance, this. If further evidence of greatness is required, there’s also the following 2012 performance piece, happily captured on video. The explanatory text reads,

In the video Waste Warrior Eats Apple, the protagonist (a ‘waste warrior’) attempts to consume an apple grown from petroleum products, having evolved out of a waste-induced Saskatchewan apocalypse. Eating an apple has long stood for female inadequacy – Eve’s original sin, the golden apple of coveted perpetual youth, the envy-inspired poisoning of young Snow White. But this warrior projects forward with an act of forced evolution, attempting to sustain herself on the very source of both female and human destruction.

Ponder that while you watch. And no skipping to the end. 

A Japanese scroll from the Edo period, 1603-1867, apparently created to “highlight the political and social changes in Japan.” 

All 33 instalments can be savoured here. 

The paintings of Alyssa Monks were featured here a few years ago. In the following link, Ms Monks crops up again, along with some other rather talented people. 

Via MeFi. 

At least we are according to the aesthetes behind Swansea’s taxpayer-funded art festival Art Across the City, which improves the locals with things like this, and specifically conceptual artist Jeremy Deller, whose work, above, is sited in a car park behind a shopping centre. The press release for this mighty piece tells us, “Deller’s plaintive request gets straight to the point. Everybody and everywhere could do with more poetry.” Likewise, presumably, “everybody” could “do with” more conceptual art too.