This is what I posted by the way and I am glad many loved it!

Just Twitter being Twitter as always haha

(yes the joystick got eaten by the cat of a friend :') )

Next week in your hard hitting "Mail on Sunday":
We expose how the woke mind virus has made the British working classes believe that they should be paid. Boris Johnson writes exclusively on how you (not him, obviously) should be "Proud to Be a Peasant." Pull-out'n'keep guide to forelock-tugging.

This "class war bombshell" only affects residences worth over TWO MILLION POUNDS, and the example given is how a 3 million pound residence would attract a mansion tax of 10k pa. So, the MoS's position is you can spend 3 mill on a place, but finding 0.003% of that pa is an unbearable burden. Right.

Followed by Rhys-Mogg's opinion about how nobody knows how to thrash a stable-boy properly, and that there is a lack of urchins to spit on.

as art 'investments' rather than on some merit of their skill or importance. Such is the nature of the Galleries, and has been so to some degree since the start of them.

It doesn't even mean that their current works are entirely devoid of artistic merits, though I would argue the work that Hirst puts his name on that he didn't even really touch himself do not count, but they are often inflated by the system of galleries and patronages in order to increase their use

but have increasingly relied on reputation and the price-tag to generate fame, rather than innovation. That Kapoor is particularly pompous, and Hirst now incredibly lazy does little to endear them among harder working, more daring and capable artists.

Very often, the gallery system involves kick-backs and incestuous backroom dealing, where prices are driven up to then sell works that are of little value, offer little expression or work on the part of the artist. Damien Hirst comes to mind, and Anish Kapoor are examples where they had some vision

then as far as artistic development goes, it's not a waste or failure of the pursuit of improvement. The Art Industry, especially 'high art' as often sold in galleries, however, is a different matter. What can be sold is what matters, and if you can be sold on 'bad' art, they will do that.

Those early or exploratory works aren't even expressly crappy or low-effort (especially not low-effort) but they are not the culmination or mastery that the artist may be seeking. A tremendous amount of effort can go into making something that fails, but if the point is to *learn* from the process