Serpentine Gallery: the black art of hushing it up

Most readers will be


with Bolton and Quinn Ltd, a google_ad_height = 90; company which is the subject

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here. Invisible

300w, 1024w, 130w" sizes="(max-width:
2476px) 100vw, 2476px" />I’ve
always wondered what service this company provides for the //--> galleries who pay them,

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because all the bodies they
represent also employ extensive in-house
PR departments.
If the Tate’s press office (currently comprising
twelve members) is so pisspoor that they have to call on additional expertise then surely they should employ google_ad_client = "ca-pub-3967079123942817"; people of a higher calibre in the first place. All




organisations prominent in pleading poverty wastefully employ two press

So what extra-special purchase does contracting B&Q give to those who pay

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five of them, including a Head of Communications


and a

Head of Media Relations), whom one can

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only conclude must be muttonheads. Instead, they called in the household cavalry to charge the cannon. B&Q put their expensive hair-dos together and came google_ad_height = 90; up with a riposte so feeble it made me laugh out loud. A teenager on the minimum wage could have concocted


something more convincing. So self-evidently accurate were The Jackdaw’s main charges against the Serpentine B&Q didn’t
even attempt to answer them, instead resorting in desperation to mutterings about ‘bonuses’. Bonuses for
public museum directors? Someone ought to be looking into


that! In the end the paper pulled the story at the google_ad_slot = "6023194682"; last minute saying there was no room for it. They still had space, however, for the vital disclosure /* xin2 */ that Tracey Emin is buying a flat in Manhattan. White Cube, Emin’s shopkeeper, is represented in media matters by
… Hello!


which many others
picked it up. But not before //--> B&Q had approached the paper. It was when I was

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informed of this that it finally dawned after so many years of bewilderment what precisely the function of B&Q is. They use
their extensive contacts
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to firefight for and lobby on behalf of State Art. Quite how much they get paid for doing this is not revealed in their
accounts at Companies House, which effectively
tell us nothing.

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when circumstances
demand, publicly funded organisations
can pay a third party with our cash to assist in preventing us
knowing the full story of what these organisations get up to. Thus are the
public kept in the dark by use of their own money. If

you are a google_ad_slot = "8637400688"; closed monopoly, as State Art src="//"> is, the advantage of keeping the public as ignorant as possible is /* 9-970x90 */ an obvious benefit. On their website B&Q refer to this dubious activity as
“producing opinion”.

How google_ad_width = 970; might such a src="//"> relationship work in practice? B&Q are in a strong position to subtly bribe journalists. They can offer trips, home and abroad, and invitations to fancy parties and src="//"> soirées with all the gubbins