As even a cursory reading of Creative Australia’s annual report, or those of its predecessor, shows, the easy task of “supporting ethnicity and gender differences in the arts” replaced the hard one of seeking real excellence. Fortunate indeed the applicant who, while vociferously denouncing settler colonialism, Zionism and climate denialism, could also claim to be black, transgender and “differently abled”.
Worse still, the erosion of merit encouraged a form of institutionalised corruption, with panels dominated by the artistic-curatorial complex allocating taxpayers’ money on what too often appears to be a “you scratch my back, I’ll scratch yours” basis. The lack of transparency, the dismantling of safeguards such as limits on successive grants, and sheer managerial incompetence did the rest, entrenching defects worthy of scrutiny by the National Anti-Corruption Commission.
Little wonder then that so many grants and awards – which conveniently boost the market value of recipients’ work – have gone to “creatives” who
lack nearly every quality that once defined a serious artist: originality, complexity, universality, ambiguity, depth and insight into human nature. And little wonder, too, that publicly supported “art” so rarely rises above affirmative, prolix kitsch.It is, after all, just a
postmodern version of socialist realism, in which art – as cultural commissar Andrei Zhdanov declared in 1932 when imposing the new Stalinist orthodoxy – was merely “a weapon” for “the ideological remoulding of the people in the spirit of socialism”.
https://www.theaustralian.com.au/commentary/there-is-a-concerning-shift-happenin...Cultural Marxism, in other words.