Disobedient Objects – Edward Lucie-Smith at the Victoria and Albert Museum

this now sacred item wasn’t, and was never intended to google_ad_height = 90; be, a

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work of art,
despite the numberless times it has since been depicted in art.

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I say this in the full consciousness that, to anyone who reads the Gospels carefully, the texts do

in fact seem to advocate a google_ad_client = "ca-pub-3967079123942817"; radical egalitarian revolution in society. together, and presenting src="//pagead2.googlesyndication.com/pagead/show_ads.js"> them to an audience that never encounters them outside the mass media,

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makes the museum a site for difficult questions and tests it claim
to be a public space.”

The phrase that betrays something here google_ad_width = 970; is “never encounters them outside the mass

media”. The assumption seems to be that what is experienced within the sanctified space of the museum must necessarily be superior to the same thing experienced outside it. In other

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words, the official framework, just because it is official, offers a validation unobtainable in the non-official circumstances in which these ‘disobedient objects’ were first made. This paradox is a step too far. The objects concerned have, on the whole, no aesthetic value. They may have had force within the very specific contexts that provoked their production. But not here. They are dead fish on a slab. In an interview given in conjunction with the show, Catherine Flood claimed that the items displayed had not been ‘museumified’ – her word, not mine. I beg to differ. That is exactly what has happened.

One reason for google_ad_client = "ca-pub-3967079123942817"; this is the

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kind
of public that great museums

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attract. They like to pretend that they are for ‘everyone’,

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and this is indeed why, in democratic /* xin2 */ Western European societies, they are /* xin-1 */ given large sums of taxpayers’ money. Any observant
person knows, however, that

​ this ‘everyone’ is not completely universal. Museums attract the kind of citizens every democracy would like to have, perhaps to the exclusion of other, more difficult cases. They pull in

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the google_ad_height = 90; bien pensants – people who get a nice glow from the idea of going there. Certainly not the bulk //--> of the truly disadvantaged, the real outsiders. They get a much higher proportion of middle-class visitors than working-class ones, though this
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distinction is slowly
breaking down.

Where immediate,

visceral access to the ideas being put forward in the show is concerned, the mass media win the contest, hands down. They know how to hit
the public in the gut, and they
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operate in a fully public arena. You run up against them in //--> your daily life, whether you want to or not.

What the

museum does here is to try to organise
the ‘disobedient’ material to make it palatable to the kind of visitors museums already get. /* 9-970x90 */ Having heard about the show, you have to make the decision to go, even google_ad_slot = "6023194682"; though you don’t have to pay a fee for the experience. Which means, in turn, //--> that google_ad_slot = "8637400688"; your mind is probably made up about the ideas it puts forward, long before you arrive.

As it happens,

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London has already seen a rather similar exhibition – Mark Wallinger’s

Turner