19 July 2019

UnHerd: Does dirty money make the art world go round?

While drug use and abuse are not new, the remarkable thing about the Sackler scandal is the allegation that the Purdue Pharma knew about the widespread misuse of the drug. And even pursued it. The company was supposedly also engaged in comprehensive marketing schemes to ensure sufficient OxyContin proliferation to destroy their competition. They had determined that the base clientele of Oxy users were the perfect customers for naloxone, the drug that reverses the effect of opioid overdose. They realised they could increase their profits by selling treatments for the problem their company was creating. The implication is that the Sackler family was aware of and in favour of these profit making motives. [...]

They wanted the Guggenheim to refuse all future funding from the Sackler family foundations, and they wanted the name pulled off buildings and wings built with that money. It was not enough that visitors to galleries and museums funded by the Sacklers should know the corporate misdeeds of its patrons, but that the name and the money itself, should be scrubbed from institutional existence.[...]

Much of the American artistic, cultural, educational and medical infrastructure was funded by robber barons, tycoons of industry, and companies and families that had money to burn (hello, runaway capitalism). The Rockefeller, Carnegie, Ford, and Astor families, to name a few, profited from unfair labour practices, not to mention slavery, the decimation of native tribes, exploitation of natural resources, all of which enabled an ultra-rich class that subsequently felt a noblesse oblige to provide at least some pittance to the lower classes.

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