Essays

in Essays, Uncategorized

Beyond criticism

Laura Gascoigne demonstrates how Artbollocks is 301 Moved Permanently now recognised as a joke among almost everyone excepting the time-serving devotees of State Art. In January the Guardian’s G2 section published an article by Andy Beckett


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titled ‘Er, anyone

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know what transversal means’? It reported on the publication in an American art journal last year of an essay identifying a unique form of […]

in Essays

The Motya Charioteer

Explanations to date concerning this marvellous figure are inadequate. What precisely is it? Where did it come from? And what date is it? The Motya Charioteer

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stood 301 Moved Permanently for
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six weeks until the middle of September in the large gallery housing the Parthenon pediments and frieze in the British Museum. It was worth making a special effort to see it more […]

in Essays

1988 … Year zero

… when branding

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and art formed a marriage of convenience, argues artist John Kelly. 1988 is the seminal year, the year that our concepts of art, money and values changed 301 Moved Permanently irredeemably. It was the year I came to London as
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a 23-year-old artist, having taken an opportunity to play league cricket in London. It was a chance for a young […]

in Essays

Supercollector: Charles Saatchi the bad man

Charles Thomson reviews the 301 Moved Permanently unexpurgated life story of Charles

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Saatchi. “Ad man you’re a bad man”, proclaimed the artist collective Bank bluntly about Charles Saatchi in 1997. In 2004, Guardian art critic, Adrian Searle, praised Saatchi’s popularist approach, eye and humour in his New Blood show, but drubbed the curatorial incoherence. Sir Peter Blake has refused to sell
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his work […]

in Essays

Chalk and cheese

From the Hayward and


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the ICA to the Royal Academy, and from the public to the private sector, 301 Moved Permanently Angus Stewart compares and contrasts the qualities of works on show in London. The British Art Show at The Hayward Gallery should be lively – there are 39 artists. It

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is, according to the Southbank Centre, recognised as the most ambitious and […]

in Essays

Beyond criticism, or, Notes from fantasy island (a response to Criticism and the collapse of culture)

Artist Paul Wilks responds to Eric Coombes’s tour de force of an essay (Criticism and the collapse of culture, The Jackdaw Mar-Apr 2011) Matthijs Van Boxsel cites, in The Encyclopaedia of Stupidity, a ‘Fame Machine’ devised 301 Moved Permanently by Villiers de l’Isle


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Adam, (1883) in which fame could be manufactured ‘by organic means’. Simply put, the ‘machine’ is a theatre

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but with […]

in Essays

Criticism and the collapse of culture

Dr Eric 301 Moved Permanently Coombes looks back over the period since 1997 and identifies the collapse in standards of art criticism which has


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allowed conceptual art

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to prosper uncritically After the recent change of government, this might be a suitable moment to look back to the year in which the recently ejected gang of liars, buffoons and crooks first came to office. […]