There was an anecdote going around in the 1990s that the South Korean government of the day was stunned to learn that the revenue generated by the movie ‘Jurassic Park’, was higher than the revenue generated by the export of 100,000 Hyundai cars.
Since then, they’ve created a global export industry of culture
& creativity, using private/public partnerships, building decentralised creative hubs in different cities, as well as by fostering healthy competition within creative sectors.
The South Koreans genuinely nurture their own creative talent, too.
And (gasp the horror!) they impose high standards and expect them to be met.
No bloated bureaucracy in South Korea, no unaccountable ‘grants’ system, no ideological obsessions (eg indigeneity aka return of the patronising ‘noble savage’ concept) and no blinkered ‘gatekeepers’, as sadly exist in Australia.
It’s so frustrating to see Australia’s massive creative potential being squandered in the way it has been. Too many piggies with their snouts in the trough is part of the problem - but to me, the more fundamental issue is that too many of ‘the gatekeepers’ I mentioned above seem to have lost an understanding of what creativity is, and how to unleash it.
Many simply aren’t creative people. They come across more as politicians / ideologues.
I’d even go as far as to say that in reality, many are afraid of unleashing Australia’s creative power, because it might expose them as the empty suits many of them are.
Perhaps South Korea’s experience provides us Aussies a glimpse of a better approach, and a brighter future.
The Jurassic Park anecdote is recounted in the catalogue. I think you've got it completely. The government arts welfare system we've created rewards nepotism, political posturing, hypocrisy & cronyism. There's a mad scramble as to who can get their snout in the trough, and a torrent of spin to explain why it's all wonderful - cf. Tony's press release touting 'Revive' as an outstanding success. There are big rewards for those that toe the line, while critics are ignored & then killed off (I refused to go quietly). Glaring scandals are passed over in silence, aided by a media that simply reproduces press releases. The Koreans have plenty of their own scandals, but when exposed they go in hard. Our method is to cover everything up. The obsession with all things Indigenous ignores the simple fact that audiences want a greater variety of exhibitions & are not hung up on appearing virtuous. It actively blurs the lines between masterpiece & mediocrity, to the great benefit of the mediocre 'insider' artist... I could go on & on.
“I’d even go as far as to say that in reality, many are afraid of unleashing Australia’s creative power, because it might expose them as the empty suits many of them are.”
We won't see these names in a hurry, because the govt. likes to protect the 'privacy' of its anointed acolytes. The public can make all the submissions it likes, but the 'advisory' decisions come from a hand-picked group of mates. Ultimate policy decisions rest with the Minister, and are rarely fazed by any amount of public consultation. Labor is the party of the smokescreen.
How wrong I was - we have the names almost immediately! But I don't see many rebellious spirits in this group. Adrian Colette? Wesley Enoch? Of all the visual artists in Australia, the only one on a panel seems to be 30-something Holly Greenwood - a choice that's hard to fathom. Experience was obviously not a big criterion.
Great piece, John. Thought provoking.
There was an anecdote going around in the 1990s that the South Korean government of the day was stunned to learn that the revenue generated by the movie ‘Jurassic Park’, was higher than the revenue generated by the export of 100,000 Hyundai cars.
Since then, they’ve created a global export industry of culture
& creativity, using private/public partnerships, building decentralised creative hubs in different cities, as well as by fostering healthy competition within creative sectors.
The South Koreans genuinely nurture their own creative talent, too.
And (gasp the horror!) they impose high standards and expect them to be met.
No bloated bureaucracy in South Korea, no unaccountable ‘grants’ system, no ideological obsessions (eg indigeneity aka return of the patronising ‘noble savage’ concept) and no blinkered ‘gatekeepers’, as sadly exist in Australia.
It’s so frustrating to see Australia’s massive creative potential being squandered in the way it has been. Too many piggies with their snouts in the trough is part of the problem - but to me, the more fundamental issue is that too many of ‘the gatekeepers’ I mentioned above seem to have lost an understanding of what creativity is, and how to unleash it.
Many simply aren’t creative people. They come across more as politicians / ideologues.
I’d even go as far as to say that in reality, many are afraid of unleashing Australia’s creative power, because it might expose them as the empty suits many of them are.
Perhaps South Korea’s experience provides us Aussies a glimpse of a better approach, and a brighter future.
The Jurassic Park anecdote is recounted in the catalogue. I think you've got it completely. The government arts welfare system we've created rewards nepotism, political posturing, hypocrisy & cronyism. There's a mad scramble as to who can get their snout in the trough, and a torrent of spin to explain why it's all wonderful - cf. Tony's press release touting 'Revive' as an outstanding success. There are big rewards for those that toe the line, while critics are ignored & then killed off (I refused to go quietly). Glaring scandals are passed over in silence, aided by a media that simply reproduces press releases. The Koreans have plenty of their own scandals, but when exposed they go in hard. Our method is to cover everything up. The obsession with all things Indigenous ignores the simple fact that audiences want a greater variety of exhibitions & are not hung up on appearing virtuous. It actively blurs the lines between masterpiece & mediocrity, to the great benefit of the mediocre 'insider' artist... I could go on & on.
“I’d even go as far as to say that in reality, many are afraid of unleashing Australia’s creative power, because it might expose them as the empty suits many of them are.”
Exactly!
Look forward to seeing who is on the panels of wise ones.
We won't see these names in a hurry, because the govt. likes to protect the 'privacy' of its anointed acolytes. The public can make all the submissions it likes, but the 'advisory' decisions come from a hand-picked group of mates. Ultimate policy decisions rest with the Minister, and are rarely fazed by any amount of public consultation. Labor is the party of the smokescreen.
How wrong I was - we have the names almost immediately! But I don't see many rebellious spirits in this group. Adrian Colette? Wesley Enoch? Of all the visual artists in Australia, the only one on a panel seems to be 30-something Holly Greenwood - a choice that's hard to fathom. Experience was obviously not a big criterion.