"I think it would be better if nobody owned anything, but they didn't starve. Had enough paint and enough pianos and everything else"
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Boyd’s utopia is deliberately practical, even a little cranky: no ownership, yes pianos. He’s not daydreaming about some purified, hair-shirt commune. He’s drawing a line between the economic violence of scarcity and the cultural violence of deprivation. “Nobody owned anything” is the headline, but the tell is the shopping list that follows. Paint and pianos aren’t luxury add-ons; they’re his proof that a life worth living requires more than calories. The sentence insists that art is not the dessert course of society. It’s part of the meal.
Coming from an Australian artist who lived through Depression-era precarity, war, and the long postwar argument about public welfare and private wealth, the remark reads like a rebuke to both market triumphalism and puritan austerity. Boyd’s work often circled human vulnerability, moral hypocrisy, and the uneasy romance of landscape; here, he’s applying that same suspicion to property as a moral system. Ownership, in his framing, is less a neutral legal fact than a machine for insecurity: if someone “owns,” someone else can be excluded.
The subtext is a defense of common access, not common misery. He imagines a culture where creative tools are as guaranteed as bread, where the question isn’t “Who can afford to make art?” but “What happens when everyone can?” It’s a social vision with an artist’s bias: keep your ideology, just don’t take away the instruments.
Coming from an Australian artist who lived through Depression-era precarity, war, and the long postwar argument about public welfare and private wealth, the remark reads like a rebuke to both market triumphalism and puritan austerity. Boyd’s work often circled human vulnerability, moral hypocrisy, and the uneasy romance of landscape; here, he’s applying that same suspicion to property as a moral system. Ownership, in his framing, is less a neutral legal fact than a machine for insecurity: if someone “owns,” someone else can be excluded.
The subtext is a defense of common access, not common misery. He imagines a culture where creative tools are as guaranteed as bread, where the question isn’t “Who can afford to make art?” but “What happens when everyone can?” It’s a social vision with an artist’s bias: keep your ideology, just don’t take away the instruments.
Quote Details
| Topic | Equality |
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