Serpentine Gallery: the black art of hushing it up

Most readers will be unfamiliar with Bolton and Quinn Ltd, a company which is the subject here. Invisible to the //--> public at large, they operate in a

EMAIL:baiwei5000@126.com
murky hinterland between major galleries and the media encouraging positive coverage of State-approved src="//pagead2.googlesyndication.com/pagead/show_ads.js"> art.
One definition of State Art might simply cite a list src="//pagead2.googlesyndication.com/pagead/show_ads.js"> of B&Q’s clients, for all the major promoters of Contemporary Art use them //--> as lobbyists, from the Tate to the
Arts Council to the Art Fund … and the Serpentine.

I’ve always

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wondered what service this company provides for the galleries who pay them,

because all the /* 9-970x90 */ bodies they represent also employ
they should employ people of a higher calibre in google_ad_height = 90; the first place. All the organisations prominent in pleading poverty wastefully employ two press offices.

So

what
extra-special purchase does contracting
B&Q
give to those google_ad_width = 970; who pay them? I can now call on personal experience to answer this. The last
two editorials of The Jackdaw concerned the publicly funded Serpentine Gallery and its

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two directors google_ad_client = "ca-pub-3967079123942817"; who are

independence of opinion is surely compromised by the

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relationship.

The src="//pagead2.googlesyndication.com/pagead/show_ads.js"> virtual monopoly of favourable comment enjoyed by State Art in newspapers

now makes perfect sense to me. David Lee