Fat cats in the park

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sizes="(max-width: 2035px) 100vw, 2035px" />Arts administrators cleaning up in the
name of charity

In 2011, the Arts Council screamed src="//pagead2.googlesyndication.com/pagead/show_ads.js"> daily that it was losing over 30% of its annual taxpayer subsidy. “Difficult decisions”

and “hard

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choices” resulted in it cutting completely annual grants to 206 organisations, making many redundant.
The Serpentine, meanwhile, was awarded the special status of “a regularly funded organization” – i.e. a reserved Pullman seat aboard the
gravy train for life,

it could at least argue that some public service was being

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performed. Nowadays, it succours only
dealers and rich collectors.

The current exhibition (until February 9th) features Jake google_ad_slot = "7160667483"; and


Dinos Chapman.
The brothers have shown

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recently at the Royal

Academy, Tates Britain and Liverpool, the ICA and the British Museum. So why do they need another exhibition at the subsidised

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Serpentine when their own

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commercial dealer, White google_ad_client = "ca-pub-3967079123942817"; Cube, runs two big premises in central London? Apparently, it requires support from a charity


to showcase works by artists already widely exhibited and who are among the wealthiest and most exhibited in contemporary art. This is not ‘Charity’ by any currently known definition of the term.

For all its millions in public subsidy

(and don’t forget it has also collected google_ad_slot = "8637400688"; no fewer than

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twelve National Lottery awards) the Serpentine fails conspicuously in two respects:

for a charity it costs too much //--> to run, is overmanned and pays google_ad_client = "ca-pub-3967079123942817"; its top staff double //--> the going rate; secondly, it google_ad_height = 90; doesn’t show enough work by British artists
of the kind who are deserving but rarely exhibited.

The Serpentine does no service to the wider community of British artists and its public subsidy should be immediately suspended.

David Lee