The Artist’s Rendering


“Render therefore unto Caesar the things which are Caesar’s; and unto God the things that are God’s.”
— Words of Jesus Christ quoted in Matthew 22:21, King James Version of the Bible.

Mona Lisa moustache
Leonardo da Vinci’s (1452-1519) Mona Lisa, with digitally added mustache. Derivative work by Perhelion.


This past Friday evening at a Sotheby’s art auction in London, the English graffiti artist Banksy remotely activated a shredder hidden within the frame of his painting Girl With Balloon moments after it had sold for one million British pounds. The lower half of the painting shredded, and there is some question now about the status of the sale and whether Banksy’s vandalizing of his own painting will render an even greater value for it.

Discussion of an artwork’s value outside of its aesthetic appeal is a reminder that for the rich who can afford to pay tremendous prices for art the value lies more in other, equally idiosyncratic, considerations than in its aesthetics. For the rich, art is an investment and a step on the ladder of social climbing. They may not find a particular piece they buy aesthetically appealing whatsoever. The essential thing is that enough other important people find an artwork appealing so that its value is driven up, checking off the boxes for high return on investment and an increase in high society credentials for its new owner. The artwork itself may languish in a warehouse after sale rather than go on private or public display.


The investment value of an artwork is, like money itself, largely artificial and sustained by the beliefs of the people who hold it or wish to hold it. No one can eat art, any more than they can eat money, nor can they grow food on it like they could on land, nor withdraw food from it as they might withdraw fish from the sea. It has no monetary value unless enough people believe it does. Aesthetic value, on the other hand, is almost entirely in the eye of the beholder, though some people may in their appreciation of art be too dependent on the opinions of “experts”. For an extreme case of wishful thinking brought on by peer pressure, look to the Hans Christian Andersen tale “The Emperor’s New Clothes”.

Titian - The Tribute Money - Google Art Project
The Tribute Money, a painting by Titian (1490-1576).

Before the Renaissance, art was for decoration of public spaces and the homes of the rich, and for religious instruction in places of worship since most people were illiterate and did not receive their education from books. The names of very few medieval and ancient artists have come down to us along with their works. That changed with the Renaissance, when artists such as Leonardo, Michelangelo, and Raphael acquired reputations beyond their immediate patrons among the rich and powerful. Note how we have come to know all three by single names, as if they were modern day celebrities. And it was the widening of cultural influence beyond the insularity of any one city-state’s walls during the Renaissance that allowed artists to break out of anonymity.

The international renown of a few popular artists such as Rembrandt was slow to build at first, and their artworks commanded modest prices by today’s standards. It is the international culture of today and the concentration of great wealth among an ever smaller percentage of the population that has enabled the explosion in high prices for the artworks of a relatively small number of well known artists. The last great jump in prices was roughly during the Gilded Age around the turn of the twentieth century, when a great concentration of wealth created a new aristocracy of capitalists.

In the 1941 film Citizen Kane, wealthy newspaper publisher and art collector Charles Foster Kane, modeled on tycoon William Randolph Hearst and played by Orson Welles, discusses his changing economic circumstances with his banker Mr. Thatcher, played by George Coulouris, and his longtime assistant Mr. Bernstein, played by Everett Sloane.

Now there is another concentration of wealth occurring, this time on a worldwide scale rather than limited to Europe and North America. Nothing has changed, of course: as always, the rich get richer. It’s the scale of wealth accumulation that has changed, and when artworks are selling for hundreds of millions of British pounds or American dollars, a mere million for a painting by anti-establishment artist Banksy is entry level stuff. The rich people sitting on mountains of the wealth of the world would not flinch at shredding a million pounds, and the irony of one artist’s rendering matters not at all to them as long as the artist’s growing fame increases their return on investment.
— Vita

10/8/2018 Update: Since last Friday, when Banksy’s Girl With Balloon partially shredded after being sold at auction for about £1,000,000, its value has increased by at least 50%, and may have doubled.



Too Much of a Good Thing


Sugar can be derived from numerous plants, including beets, corn, and the fruit of trees, but it has come into its own since the Middle Ages in Europe as the refined product of the sugarcane plant, a perennial grass. The plant originated in New Guinea, and from there traders introduced to Asia, where it eventually found its way to southern Europe by way of Arab merchants. As noted from its origin, the plant grows in tropical or sub tropical climates. Europeans quickly developed a taste for refined sugar, but since the plant would not grow well in Europe or northern Africa, they needed to find either another source or another place to grow, or forever be at the mercy of Arab merchants, who kept the price high.

When European explorers stumbled upon the New World in their search for a trade route to the Far East that bypassed Arab middlemen, they were interested in exploiting sugar resources as much as spices. The tropical and sub tropical bands of the New World – the Caribbean, much of eastern South America, Central America, and the far southeastern portion of North America – turned out to be well suited for raising sugarcane. The problem was finding a suitably cheap labor source for the backbreaking and dangerous labor involved in sugarcane cultivation as well as refinement. The Europeans, after exhausting the Native Americans as a labor source, turned to Africa as a source of slave labor.

There were other plantation crops that Europeans raised in the New World exploiting slave labor, such as tobacco (a plant native to the western hemisphere) and cotton, but sugar was the big money maker for them, the linchpin of Atlantic trade from the 1500s well into the 1800s. Sugar grown on plantations in the New World traveled, some in the form of rum, to northeastern ports of North America and then on to Europe, where it was traded for manufactured goods; some of the manufactured goods then were traded in Africa for slaves, who were loaded onto ships destined for plantations in the New World, their voyage across the Atlantic being known as the Middle Passage of this triangle of trade. Some didn’t survive the voyage, and of the ones who did, many suffered abominably under harsh conditions in the sugar growing regions and elsewhere.

No such thing as too much (4578918974)
Pancakes with syrup, or syrup with pancakes? Photo by jeffreyw.

Hundreds of years later, sugar is still exacting a toll from poor black people, as well as poor and working class people generally. The European quest for cheap sugar succeeded all too well. Now it’s found in far too many supermarket foods and beverages, where in the case of processed foods it masks the loss of wholesome flavors. Sugary beverages like soda and many fruit drinks are especially egregious sources of the endocrine disrupting carbohydrates present in refined sugar that can lead to obesity and type 2 diabetes. These processed foods are easy to prepare and are relatively cheap and, because of the sugar in them, to some people they taste good enough.

“Big Rock Candy Mountain”, first recorded by Harry McClintock in 1928, is about a hobo’s idea of paradise. McClintock claimed to have written the song in 1895, based on tales from his youth hoboing through the United States. McClintock’s 1928 recording was used by Ethan and Joel Coen at the beginning of their 2000 film, O Brother, Where Art Thou?.

People could cut back their consumption of processed foods, and certainly they could drop sugary sodas and fruit drinks out of their diet and not lose any essential nutrients. People can use will power and self control, even though there is evidence that sugar’s effects on their health are more insidious than industry mouthpieces would have everyone believe. People can do all those things. But they don’t. Why not?

What if crack cocaine were as cheap as sugar? How about cigarettes? Opioids? What levels of consumption would we encounter then among the general population, and among the poor and working classes specifically? All those substances stimulate pleasure centers in the human brain, just like a good hit of sugar does in a smaller way, and all are ultimately destructive in high enough doses. Is sugar as destructive as those other addictive substances? No, not in the short term, and it would be ridiculous to equate a cookie with a hit of cocaine. In the long run, however, over the course of ten, twenty, or thirty years, sugar consumption at modern American levels of a hundred pounds or more per person per year is proving destructive enough. Time to turn some of that exhausted soil in the tropics over from growing monocultures of sugarcane for export to growing fruits and vegetables the locals could consume for themselves. We could easily cut back from two or three lumps of sugar to just one.
― Izzy