“For want of a nail the shoe was lost. For want of a shoe the horse was 
lost. For want of a horse the rider was lost. For want of a rider the 
battle was lost. For want of a battle the kingdom was lost. And all for 
the want of a horseshoe nail.”

This post is a bit different from the usual, but it’s still about the 
British art scene because I’m going to write today about the damage 
recently and needlessly inflicted on that scene by the egregious 
short-sightedness of whichever numpties at the Arts Council of England 
had the final say on cutting relatively trifling but vital sums from 
numerous crucial community-centred or artist-led organisations while 
gaily tipping ever increasing millions of obscene pounds into the gaping 
haute bourgeois money pits of places like the Royal Opera House.

The British art scene- at the best of times exceedingly small and 
fragile- relies upon an even more minute core of vital people and places 
to do the nuts-and-bolts, pragmatic stuff that every other profession 
does automatically but most of the art world can’t seem to get their 
heads wrapped around: chief among these functions is bridging the gap 
between being an inexperienced, ambitious kid and a working professional 
with a sustainable career. Another thing these organisations do is 
provide safe and supportive environments for art and artists that can’t 
yet or simply shouldn’t ever be subjected to market forces.

I know there are some people who think that everything and everyone, 
including art and artists, should be subjected to the full and 
unmitigated brunt of market forces. It’s also a commonly encountered 
argument that art should always be subjected to some kind of public 
popularity competition, community approval or public benefit yardstick. 
These people are just plain wrong, and with every purchase of just plain 
wrong I’ll add this free pack of you’re a fucking idiot.

http://careersuicideblog.wordpress.com/2011/06/16/for-want-of-a-nail-in-praise-of-artsway/
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