are always telling us to
"shut up and learn to love slavery"
What I don't get is that after dismantling
society, as Thatcher ordered, because there is
no society, except the one that was destroyed
after the orders were given. But, since
nobody complained, the destruction continued
until everybody took it for granted. There's no
society. What does that mean?
nobody complained, the destruction continued
until everybody took it for granted. There's no
society. What does that mean?
I suppose it means that workers are supposed to suffer,
not rich folks, cuz they can own/foster culture.,
with their own money, right?
Shell funds the arts, for now.
BP funds the arts, for now.
So, when clowns dressed as journalists
opine that actually society should look
after art, then I get incandescent.
They mean public $$£.
Not for poor people, not the homeless,
not public healthcare, not schools,
the f^**(king art.
squiggles on canvas. Or more recently
whole rooms full of reclaimed sh*t
from the garbage dump.
So, the government is supposed to protect
this art, so that we can LOOOOOK at it.
You know what?
Get the F^&*king JPEG and wank off to it!
"oooooh, Matisse. Your bitches are fiiiiine"
checkit: Daily Telegraph
Oliver
Wright
Monday
18 November 2013
It
has been described as Britain’s “cultural safety net” – a means to save some of
the country’s most precious works of art from being sold abroad and
disappearing from public view.
But
now a former minister is warning that the 60-year-old system for protecting the
UK’s cultural heritage is beginning to fail because of a lack of government and
philanthropic support.
In
the last two years, less than a third of the antiques, paintings and
manuscripts that the Reviewing Committee on the Export of Works of Art and
Objects of Cultural Interest recommended should be “saved for the nation”
actually remained in Britain.
Instead
works, including Picasso’s Child with a Dove, which had been on display at the
National Gallery since 1974, have been lost to collectors abroad because the
funds could not be found to keep them in the country.
Under
the current system, the committee can ask ministers to delay export licences to
allow British museums and collections time to raise the funds to buy the works.
But
despite issuing 20 export delay orders since 2012, the money has only been
raised to allow six pieces to remain in the country.
Nine
of the works have already left Britain after export licence delays were lifted
while six are still waiting to see if funds can be found to buy them. These
include a Rembrandt.
