Artist speaking. A similar scheme was employed by Holland for many years. The state committed to buy at least one artwork from each artist per year and predictably their warehouses became filled with crap art that no one wanted.
That being said, wise governments recognize the value of some kind of support of the arts. One reason for the incredible esteem that Korean culture is held in within Asia is the Korean government's active support of its filmmaking, TV and music industry. This was also true in Renaissance Italy (courtesy of the Medici family) and in 17th Century France (courtesy of Louis XIV). It was even true of the CIA's active support of abstract expressionism. The payoff of such support is soft power, which is a very real force.
Even in the US we see cities becoming desirable place to live when they successfully cultivate a film scene, or an art school, and being dead when they don't. But this feels like a better approach than a basic income (which is an invitation to idleness)--make it easy to use the environs for film, streamline permitting, provide cheap capital, solicit locals for public installations.
Through the kunstuitleen they leased and sold art to galleries and private homes. It was like a library for contemporary art which paid struggling artists and their families, while also exposing the public to more art.
To say that "no one wanted" is a massively overblown. Thousands of art pieces lived happily in many Dutch homes.
OK, maybe my use of that phrase was a bit ill-judged. However, aside from supporting artists, what did the initiative achieve? Keeping artists off the dole should not be, IMHO, a goal in itself. The reputation of Dutch culture at the time was not brilliant, though neither was it bad. A strategic attitude would have been more effective... maybe target one or two artists and promote them.
The Young British Artists (YBA) boom of the 80s was a product of the innovative teaching environment of Goldsmiths' college plus the drive of people like Damien Hirst, who organized the ground-breaking Freeze exhibition. The British Council did their best to capitalize on this.
but apart from the sanitation, the medicine, education, wine, public order, irrigation, roads, a fresh water system, and public health... what have the Romans ever done for us?
I used to live next to Borough market and saw it devolve from a genuine working class market to a chi-chi hive. The old pie and mash shop was replaced by offices and high-end trinket shops, as were all the other old-school business. It was like watching someone you love being embalmed whilst still alive. I now live in Asia where the market tradition are still vivid and alive.
Eh I live in the UK (wasn't born here) and I think they hold onto too much for too long here. How many "examples of a Victorian house" do you really need?
Japan is a perfect example of picking and choosing, keeping the very important things and building new things everywhere else.
How long will the UK keep all of these decrepit buildings? 100 more years? 1000? 10000?
And what a loss to history, in trying to keep "the good old days" alive that you don't allow current and future generations to also leave a mark in history, as if one era is more significant than the other.
Thats my only real gripe with the culture here. Too much looking back and not enough looking forward.
To a degree you have a point. Indeed, this is exactly one of the points of attraction that Asia holds for me. Anecdote: my Japanese girl friend showed me a bunch of Japanese coins. I thought they were cool and asked if I could have one. She agreed and I selected the oldest, to which her response was 'that so British'.
However.... the point I was making was somewhat different. The buildings of Borough market are still there. What has changed is the community, which has been replaced outright. Moreover, it has been replaced with a 'pseudo community' akin to what you might find in an airport - transient office workers looking for somewhere a short distance from city center. It is the commodification of community - sold to the highest bidder.
That transience, ironically, comes from the regulatory structure we try to use to protect community by trying to protect the buildings themselves. The things we've done that make it hard to build end up preventing new downtowns and markets in places that don't have them today, like residential areas. So then everyone's forced to the old markets for all their new needs, transforming them. If we let go, we'd see new downtowns and new markets in places that might be suburbs today, just like the old markets happened - organically, where a developer thinks they'll make money on one.
For those who are not familiar with Bruce MacEvoy’s Handprint website, this guy knows more about color theory than almost anyone who has ever lived. Not the world’s best organized site…. Start here: https://www.handprint.com/HP/WCL/water.html
I spent about six months working on adding new pigments to my palette, and his research was invaluable. Highly recommended for anyone who is intermediate at watercolour. For beginners, he has a page that recommends some beginner palettes, which is quite useful.
For those looking − as the GP said, it's not fantastically organized − pigments information is available here: https://www.handprint.com/HP/WCL/waterfs.html. Top links yield access to pigments, organized by "color family".
Two other similar resources on pigments − always good to check what's in the tube before buying!
We did some statistical analysis on the golden ratio and its use in art. It does indeed seem that artists gravitate away from regular geometry such as squares, thirds etc and towards recursive geometry such as the golden ratio and the root 2 rectangle. Most of our research was on old master paintings, so it might be argued that this was learned behavior, however one of our experiments seems to show that this preference is also present in those without any knowledge of such prescribed geometries.
Golden ratio is very specific, whereas any proportional that is vaguely close to 1.5 (equivalently, 2:1) gets called out as an example of golden ratio.
The same tendency exists among wannabe-mathematician art critics who see a spiral and label it a logarithmic spiral or a Fibonacci spiral.
Certainly some art critics and artists over-apply and over-think so-called 'golden' geometry. What I think is happening is very simple... that artists avoid regularity (e.g. two lights of the same color and intensity, exact center placement, exact placement at thirds, corner placement, two regions at the same angle, two hue spreads of equal sides on opposite sides of the RYB hue wheel etc etc). These loose 'rules' of avoidance can be confused with 'rules' of prescription such as color harmony, golden section etc.
One advantage of using hello as a greeting is that it is agnostic of social rank. This made it the perfect choice for greeting people of unknown social rank on the phone.
Having traveled the world quite a bit I can attest to the ubiquity of the word hello… almost everywhere I go it is understood. ‘OK’ has a similar ubiquity, and it is interesting that both words are relatively new additions to the English (universal?) language.
These are called translingual words. 2 interesting ones are coffee and chocolate. basically no matter where you are in the world, people will understand those (with slight regional differences like "cafe", similar to hello)
Chocolate is native to the Americas and started to spread around the world in the 17th century, so it makes sense that most languages use the same word, as it is a quite recent addition.
Chili peppers, tomatos, and potatos (among others) are all from the Americas, but have their own names in every area they've spread to, or have taken the name of something else. Why is chocolate different?
I used to demonstrate PS1 in my digital painting class. I would show that without a layer-based system it was still possible to create a composite using calculations feature. The process is incredibly simple… an alpha, a foreground and a background plus some addition and multiplication. Even art students understand it. I’m still blown away by how much functionality they managed to squeeze into an executable small encounter to email to someone.
FYI.., the version I used was registered to Apple. Apparently, the Knoll brothers demoed PS to apple and they promptly shared it amongst themselves and their buddies. Almost all illegitimate copies of it are derived from that pirated copy.
Fun fact… John knolls wife was the founding member of the Photoshop ‘Widows’ club… a home to people who have lost loved ones to software.
That is certainly how oil painters paint. But painting on absorbent stone is likely very different - more akin to fresco, and would probably not support a very layered approach.
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