Posts Tagged ‘art’
“Where’s the beef?”*…
There’s been some consternation over the FDA’s new food pyramid, with nutritionists arguing that, while the emphasis on “whole foods” (as opposed to processed) is a plus, the guidance overstresses satured-fat-rich foods and under-recommends gut-healthy fermented foods, and beans and grains (see also here).
There could be material economic costs as well. The Federal goverment already spends over $72 Billion subsidizing livestock— not counting the reduced cost grazing permits offered ranchers on Federal land. And as ranch and farm land ownership has become more and more concentrated in fewer and fwer hands, the benifits are flowing to fewer, wealthier “ranchers” (like Bill Gates, Warren Buffett, Jeff Bezos, a clutch of large corporations, and foreign investors).
Then there are the environmental implications. Oliver Milman ponders the potential scale of that impact if the new pyramid is followed…
The Trump administration’s new dietary guidelines urging Americans to eat far more meat and dairy products will, if followed, come at a major cost to the planet via huge swathes of habitat razed for farmland and millions of tons of extra planet-heating emissions.
A new inverted food pyramid recently released by Donald Trump’s health department emphasizes pictures of steak, poultry, ground beef and whole milk, alongside fruits and vegetables, as the most important foods to eat.
The new guidelines are designed to nearly double the amount of protein currently consumed by Americans. “Protein and healthy fats are essential and were wrongly discouraged in prior dietary guidelines,” said Robert F Kennedy Jr, the US health secretary. “We are ending the war on saturated fats.”
But a surge in meat-eating by Americans would involve flattening vast tracts of ecosystems such as forests to make way for the hefty environmental hoofprint of raised livestock, emitting large quantities of greenhouse gases in the process, experts have warned.
Even a 25% increase in the amount of protein consumed in this way in the US would require about 100m acres of additional agricultural land each year, an area about the size of California, and add hundreds of millions of tons of extra pollution to an already overheating planet, according to an estimate by the World Resources Institute (WRI), a non-profit research body.
“We are seeing millions of acres of forest cut down and agricultural expansion is the lead driver of that – adding 100m acres to that to feed the US means additional pressure on the world’s remaining ecosystems,” said Richard Waite, the director of agriculture initiatives at WRI.
“It’s already hard to feed the global population while reducing emissions and stopping deforestation, and a shift in this direction would make the challenge even harder. We need to reduce the impact of our food systems urgently and the US is an important piece of the puzzle in doing that.”
While many Americans will simply ignore the guidelines, the new framework will probably influence institutions such as schools and federal workplaces. The average American already eats about 144kg (317lb) of meat and seafood a year, second globally only to Portugal, and ingests more protein than previous federal government guidelines recommended.
Any further increase will be felt in places such as the Amazon rainforest, which is already being felled at a rapid rate for cattle ranches and to grow livestock feed.
Red meat, in particular, has an outsized impact upon the planet – beef requires 20 times more land and emits 20 times more greenhouse gas emissions per gram of protein than common plant proteins, such as beans. The raising of cows, pigs, lamb and other animals for slaughter is also associated with significant localized air and water pollution.
“To the extent that people follow these guidelines and eat more animal protein foods, particularly beef and dairy, they will negatively impact our environment, since the production of these foods emits way more greenhouse gases than vegetable protein foods, or even other animal foods,” said Diego Rose, a director of nutrition at Tulane University.
Choosing beef over beans and lentils is “a big choice we make that has real consequences”, said Waite. “If people want more protein there are ways to do that via eating plant-based foods without the environmental impacts. We can have our protein and our forests, too.”
Animal agriculture is responsible for about a fifth of global emissions, with little progress made in recent years to reduce its impact as more of the world starts to demand meat products. Worldwide consumption of pork, beef, poultry and meat is projected to reach over 500m tonnes by 2050 –double what it was in 2000.
In the US, much of this meat-eating is concentrated in a relatively small group of avid carnivores – just 12% of Americans consume nearly half of the country’s beef, a 2024 study found. But plant-based options, including “fake meat” burgers, have suffered a slump in sales in recent years amid a resurgent trend in meat-eating, fueled by online “meatfluencers” and a broader desire to consume more protein.
The environmental problems associated with the meat industry were previously highlighted by Kennedy himself, when he was a campaigner on green issues. At one point, Kennedy even said the pork industry was an even bigger threat to the US than Osama bin Laden, the terrorist mastermind.
“The factory meat industry has polluted thousands of miles of America’s rivers, killed billions of fish, pushed tens of thousands of family farmers off their land, sickened and killed thousands of US citizens, and treated millions of farm animals with unspeakable and unnecessary cruelty,” Kennedy wrote in 2004.
However, since becoming Trump’s health secretary, Kennedy has sought to elevate meat-eating, dismissing an independent scientific committee’s advice to emphasize plant-based proteins to instead favor meat.
“The Trump administration will no longer weaponize federal food policy to destroy the livelihoods of hard-working American ranchers and protein producers under the radical dogma of the Green New Scam,” a spokesperson for the Department of Health and Human Services said in response to questions about the knock-on environmental impacts of the new guidelines.
“Americans already eat a lot of meat, so this promotion of more meat and things like beef tallow is puzzling to me,” said Benjamin Goldstein, a researcher at the University of Michigan who has studied the huge emissions associated with meat-eating by city-dwellers in the US.
“We needed to be addressing climate change two decades ago and we are still not doing enough now. If we are adding more greenhouse gases to impose unnecessary ideas of protein intake, that’s going to destabilize the climate further. It’s going to have a big impact.”…
Even 25% increase in meat and dairy consumption would require 100m more acres of agricultural land: “Huge amounts of extra land needed for RFK Jr’s meat-heavy diet guidelines,” from @olliemilman.bsky.social in @theguardian.com.
* Wendy’s advertising tagline (from 1984)
###
As we deconstruct diet, we might send bibulous birthday greetings to William Claude Dukenfield; he was born on this date in 1880. Better known by his stage name, W.C. Fields, an actor, comedian, juggler, and writer, became a vaudeville headliner, “the world’s greatest juggler” [which he may have been], then transitioned to Broadway (e.g., the Ziegfeld Follies revue and Poppy, wherein he perfected his persona as a colorful small-time con man) and began appearing in silent films. In the 1930s, Fields wrote and starred in a series of successful short films for (his golf buddy) Mack Sennett, then appeared in 13 feature films for Paramount. An illness sidelined him in the late 30s, but he roared back in the early 40s with Universal classics like My Little Chickadee, The Bank Dick, and Never Give a Sucker an Even Break.
Now widely regarded one of the comic geniuses of the 20th century, the Surrealists loved Fields’ absurdism and anarchistic pranks. Max Ernst painted a Project for a Monument to W. C. Fields (1957), and René Magritte made an Homage to Mack Sennett (1934).
The Firesign Theatre titled the second track of their 1968 album Waiting for the Electrician or Someone Like Him “W. C. Fields Forever,” a riff on the Beatles song “Strawberry Fields Forever.”
“I personally stay away from natural foods. At my age I need all the preservatives I can get.”
– W. C. Fields
“Early modern society created – and we have inherited – that paradoxical thing: a tradition of radical innovation”*…

A University of Chicago economist with a specialty in the economics of creativity, David Galenson, with an argument that the Impressionists contributed more than their works to the story of art…
Since the 1960s the art world has become accustomed to the arrival of startling new works by contemporary artists, from Yves Klein’s anthropometries created by nude models covered with blue paint, Piero Manzoni’s canned feces, and Andy Warhol’s silkscreened portraits, through Andres Serrano’s crucifix in urine, Damien Hirst’s sectioned animals in formaldehyde, and Tracey Emin’s soiled bed, to Maurizio Cattelan’s duct-taped banana. Yet few art experts understand that these radical works are only the most recent consequences of a fundamental change in the structure of art markets that occurred more than a century ago. And the artists who initiated this change are today so venerated that few people realize how radical they were in their own time…
Art historians have long recognized that a radical change occurred in the appearance of fine art during the late 19th and early twentieth centuries, but they have failed to explain why this happened when it did. The answer lies in a change in the structure of the market for art, initiated by Claude Monet and a small group of his friends. The Impressionist group exhibitions of 1874–86 effectively ended the official Salon’s monopoly of the ability to certify artists as qualified professionals, and began a new regime in which small independent group exhibitions competed for attention. The result was a new era of artistic freedom, as painters no longer had to satisfy the conservative Salon jury, and new styles challenged for leadership of the art world. The heightened demand for originality favored conceptual artists, who could innovate conspicuously and decisively. So ironically, Monet and his fellow experimental Impressionists came under attack from the supporters of Seurat, van Gogh, Gauguin, and other young conceptual artists. The growing independence of private galleries, which further contributed to fostering competition, would allow Matisse, Picasso, and their peers to consolidate this revolution early in the next century. And the products of this perpetual revolution have included such later works as Warhol’s silkscreened portraits, Hirst’s sectioned animals, and Cattelan’s duct-taped banana. Art historians have described the transformation of modern art in great detail, but have failed to recognize the causal role of economic forces, as the shift from monopsony to a competitive market gave artists a new freedom to innovate, and made the modern era a time of continuing radical innovation…
Fascinating: “Marketing modern art: how the impressionists started a perpetual revolution,” from @jcultecon.bsky.social.
Bay Area readers can peek at the process in motion at The MFA’s Legion of Honor in the “Manet & Morisot” exhibition, up through March 1.
###
As we divvy up the difference, we might send avant-garde birthday greetings to a beneficiary of this emergent cultural mechanism, Francis Picabia; he was born on this date in 1879. A French avant-garde painter, poet, and typographist, Picabia experimented with Impressionism and Pointillism before becoming a Cubist. He then became one of the early major figures of the Dada movement in the United States and in France, and was later briefly associated with Surrealism.
See his work at the record of a major retrospective hung at the Museum of Modern Art in New York in 2017 on their web site.

“Gotta have opposites, light and dark and dark and light, in painting. It’s like in life. Gotta have a little sadness once in awhile so you know when the good times come.”…
Bob Ross’ The Joy of Painting ran on PBS (and the CBC) from 1983 to 1994. Reruns continue around the world, including the non-commercial digital subchannel network Create and the streaming service Hulu. As part of its launch of Twitch Creative, Twitch streamed every episode over a nine-day period starting on October 29, 2015 – what would have been Ross’s 73rd birthday– and scored 5.6 million viewers. So they created a weekly rebroadcast of all 31 seasons of The Joy of Painting to air, with episodes in order, on Twitch each Monday from November 2015 onward, and a marathon of episodes each October 29. In the United Kingdom, the BBC re-ran episodes during the COVID-19 pandemic while most viewers were in lockdown at home.
Ross is estimated to have pained 30,000 canvases during his lifetime. But as those paintings are scarce on the art market, sale prices of the paintings average in the thousands of dollars and frequently topping $10,000. Lately, they’ve done even better– and for an important cause.
Starting last November, auction house Bonhams has been offering what will be a total of 30 Ross oils to benefit the public broadcasting system that made him famous…
Bonhams has revealed the next works by the beloved US television painter Bob Ross it will offer for sale, with auction proceeds going toward public television following devastating funding cuts by president Donald Trump’s administration. More than $1bn in federal funding previously allocated to support public broadcasters was slashed by the Republican-controlled congress last year.
Last year, Bonhams announced it would sell 30 Ross paintings donated by Bob Ross Inc to benefit public television. The first three paintings from the group went up for sale in November and fetched a combined total of $662,000 with fees. Ross’s painting Winter’s Peace (1993) sold for $318,000 with fees, setting an auction record for the artist. Just weeks later, that record was shattered again when his painting Cabin at Sunset (1987) sold for more than $1m in an online charity auction for the Public Media Bridge Fund initiative [see here], organised by the television host John Oliver. [One more reason to love John Oliver.]
Three more Ross paintings will be part of the “Americana: Crafting a Nation: Art, History & Legacy” auction on 27 January at Bonhams in Massachusetts, and could fetch as much as $155,000 collectively, according to the auction house’s estimates.
Valley View (1990) is estimated to sell for between $30,000 and $50,000, and was the first work completed for the 21st volume of Ross’s Joy of Painting instructional book. Change of Seasons (1990) comes with an estimate of $40,000 to $60,000, and was completed live on air in 1990, on the 11th episode of the 20th season of his The Joy of Painting television series. In that episode, Ross describes the scene as “just a beautiful little painting”.
Babbling Brook (1993), a unique oval-shaped painting, is estimated to fetch between $25,000 and $45,000. It was completed during filming for the first episode of the 30th season of The Joy of Painting. Ross often let the subject in his landscapes develop as he went along, encouraging viewers to add spontaneous details as they saw fit. While painting Babbling Brook, Ross said, “I see something!” and painted in a waterfall, adding: “Let your imagination take you to any world that you want to go to.”
An additional 24 Ross works will be sold throughout this year across Bonhams salesrooms in New York, Boston and Los Angeles, the auction house says…
Giving back: “More Bob Ross paintings head to auction to benefit US public television” from @theartnewspaper.bsky.social.
* Bob Ross
###
As we “don’t make mistakes, just happy little accidents,” we might note that Ross’ rough contemporary and fellow “popular” painter, Thomas Kinkade was born on this date in 1958. While Ross was concerned with communicating the joy of creating and was opposed to his paintings becoming “financial instruments,” Kinkade was focused on capitalizing on his creations.
Kinkade, who described himself as a “master of light” (putting himself in the company of Rembrandt and Caravaggio), achieved success during his lifetime via the mass marketing of his work as printed reproductions and other licensed products through the Thomas Kinkade Company (according to which, at one point one in every 20 American homes owned a copy of one of his paintings).
Ross died in 1995 of complications from lymphoma (which he’d had for several years). KInkade died in 2012 of acute intoxication from alcohol and diazepam.

“Darkness cannot drive out darkness: only light can do that. Hate cannot drive out hate: only love can do that”
Happy Martin Luther King Jr. (MLK) Day
“Time flies like an arrow; fruit flies like a banana”*…

A companion of a sort to last Friday’s post: In the 19th century, the linear idea of time became dominant. As Emily Thomas explains, that has had profound implications for how we experience the world…
‘It’s natural,’ says the Stanford Encyclopedia of Philosophy, ‘to think that time can be represented by a line.’ We imagine the past stretching in a line behind us, the future stretching in an unseen line ahead. We ride an ever-moving arrow – the present. However, this picture of time is not natural. Its roots stretch only to the 18th century, yet this notion has now entrenched itself so deeply in Western thought that it’s difficult to imagine time as anything else. And this new representation of time has affected all kinds of things, from our understanding of history to time travel.
Let’s journey back to ancient Greece. Amid rolls of papyrus and purplish figs, philosophers like Plato looked up into the night. His creation myth, Timaeus, connected time with the movements of celestial bodies. The god ‘brought into being’ the sun, moon and other stars, for the ‘begetting of time’. They trace circles in the sky, creating days, months, years. The ‘wanderings’ of other, ‘bewilderingly numerous’ celestial bodies also make time. When all their wanderings are ‘completed together’, they achieve ‘consummation’ in a ‘perfect year’. At the end of this ‘Great Year’, all the heavenly bodies will have completed their cycles, returning to where they started. Taking millennia, this will complete one cycle of the universe. As ancient Greek philosophy spread through Europe, these ideas of time spread too. For instance, Greek and Roman Stoics connected time with their doctrine of ‘Eternal Recurrence’: the universe undergoes infinite cycles, ending and restarting in fire.
Such views of time are cyclical: time comprises a repeating cycle, as events occur, pass, and occur again. They echo processes in nature. Day and night. Summer to winter. As the historian Stephen Jay Gould explains in Time’s Arrow, Time’s Cycle (1987), within the West, cyclical conceptions dominated ancient thought. It’s even hinted at in the Bible. For example, Ecclesiastes proclaims: ‘What has been will be again … there is nothing new under the sun.’ Yet, Gould writes, the Bible also contains a linear conception of time: time comprises a one-way sequence of unrepeatable events. Take Biblical history: ‘God creates the earth once, instructs Noah to ride out a unique flood in a singular ark.’ Gould describes this linear understanding of history as an ‘important and distinctive’ contribution of Jewish thought. Biblical history helped power linear ideas of time.
Cyclical and linear conceptions of time thrived side by side for centuries, sometimes blurring into one another. After all, we live through natural, cyclical seasons and unrepeatable events – birth, first marriage, death. Importantly, medievals and early moderns didn’t literally see cyclical time as a circle, or linear time as a line. Yet in the 19th-century world of frock coats, petticoats and suet puddings, change was afoot. Gradually, the linear model of time gained ground, and thinkers literally began drawing time as a line…
[Thomas explores four key developments that fueled the shift, chronography (the development of timelines), Darwin and the emergence of the concept of evolution, chronophotography, and theories in math and physics of a “fourth dimension” (then explored by Einstein and Bergson, Mary Calkins and Victoria Welby, Bertrand Russell, H. G. Wells, and so many others…]
… Today, conceiving of time as a line remains widespread. Timelines are everywhere: in the history of evolution, the history of video games, and the history of chocolate. There’s even a timeline of timelines. And the effects of this line of thought (pun intended) are still with us. Philosophers continue to debate the reality of past and future: just check out this bumper encyclopaedia article on ‘Presentism’, ‘the view that only present things exist’. Time-travel stories run rife. Back to the Future. Groundhog Day. The Time Traveler’s Wife. Historians have largely dropped Victorian faith in the progress of humanity, yet progress stories about particular areas remain. For example, take this timeline: it straightforwardly depicts technological progress over time. All these ideas are powered by the notion that time is a line. Were we to reshape our idea of time, perhaps these other ideas would also find themselves bent into new forms…
“The Shape of Time,” from @aeon.co.
* Anthony Oettinger and separately, Susumu Kuno (though often mis-attributed to Groucho Marx)
###
As we wonder at Yeat’s widening gyre, we might send echoing birthday greetings to Charles Louis de Secondat, baron de La Brède et de Montesquieu; he was born on this date in 1689. Better known simply as Montesquieu, he was a French judge, historian, and political philosopher.
Montesquieu is the principal source of the theory of separation of powers, which is implemented (if not always observed) in many constitutions throughout the world. He is also known for doing more than any other author to secure the place of the word “despotism” in the political lexicon. His anonymously published The Spirit of Law (De l’esprit des lois, 1748; first translated into English in 1750) was received well in both Great Britain and the American colonies, and influenced the Founding Fathers of the United States in drafting the U.S. Constitution.
“The world was made in order to result in a beautiful book”*…

Revisiting a topic covered here just over a decade ago: Adam Green on the remarkable mid-17th century to the late 19th century practice of publishing books with “hidden art”…
A “fore-edge painting” is an illustration or design which appears on the “fore-edge” of a book (i.e. on the edge which is opened up, opposite to the spine). The history of such embellishments is thought to go back to the tenth century but it wasn’t until the eighteenth century that the unusual practice really began to take off. The simplest form involved painting onto the fore-edge when the book was closed normally — hence the image appears by default — but a more advanced form involved a rather ingenious technique whereby the painting was applied to the page edges when the stack was fanned at a slight angle. This way the image is hidden from view when the book is closed normally. To hide any remnants of this secret image the exposed edge of the book, when closed normally, was gilded (or sometimes marbled). In his 1949 essay “On Fore-Edge Painting of Books” Kenneth Hobson came up with this rather nice metaphor to explain: “Imagine a flight of stairs, each step representing a leaf of the book. On the tread would be the painting and on the flat surface would be gold. A book painted and gilt in this way must be furled back before the picture can be seen.”
Bookbinders, such as Edwards of Halifax, got even cleverer with variations of the technique, producing books with “double fore-edge paintings”, where one image would be revealed when the book was fanned one way, and a second image revealed when fanned the other. “Triple fore-edge paintings” are where a third image is added instead of gilt or marbling. “Panoramic fore-edge paintings” utilise the top and bottom and edges to make continuous panoramic scenes. “Split double paintings” have two different illustrations, one on either side of the book’s centre, meaning that when the book is laid open in the middle, each is seen on either side. Very rare and skilled variations of the art only reveal the image when the the pages of the book are pinched or tented in a certain way.
Most often the artwork would reflect the content of the book (as shown in the chess example above). Sometimes it would depict the owner (through a portrait or picture of their home). And occasionally it would be oddly incongruous, such as The Poetical Works of John Milton being adorned with a painting of the tomb of Thomas Gray.
One of the finest collections of fore-edge paintings is held at Boston Public Library, which you can see on their Flickr, and on a dedicated website, which includes an introductory essay by Anne C. Bromer of Bromer Booksellers, who along with her husband gifted this wonderful collection to the Boston Public Library. In this post we’ve featured our highlights from their collection…
See many more examples at: “Fore-Edge Book Paintings from the Boston Public Library,” from @publicdomainrev.bsky.social.
* Stephane Mallarme
###
As we fan the folio, we might send delightfully-illustrated birthday greetings to Michael Bond; he was born on this date in 1926. A writer of both children’s books and teleplays, he is of course best known as the creator of of Paddington Bear.
Bond published the first of his 29 Paddington books in 1958. The series has sold over 35 million copies worldwide (and been featured in several (mostly) animated television series, a film series, and a stage musical).







You must be logged in to post a comment.