‘Sculpture’ versus Sculpture

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be because there are no published criteria or guidelines for making such a judgement. You can’t second //--> guess a whim. The bottom line is that
we have allowed a /* xin2 */ body of ‘experts’

For detailed process, you can “visit here” or contact support@goldenname.com.

to evolve who unashamedly make it up as they go along. This google_ad_client = "ca-pub-3967079123942817"; gullibility on our part for allowing it to happen, and
the smug


charlatanism of google_ad_height = 90; those in authority who are impervious to and ignoring of criticism, is the inevitable result of being for decades under the thumb
of an

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which – for all its daily protestations to the contrary – is not only awash with cash and therefore patronage, but has decided, god-like, that anything at all can

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art if it says
it is. In its
way State Art’s is as extreme a form of capricious and intolerant dictatorship as any regime in North Korea.

There is a useful current example of how fossilised prejudice and arbitrariness inform establishment policy. It concerns two works

of public art each designed for city locations. Both are,
on the

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face of it, conventional figurative bronzes. Superficially similar though they may seem, /* xin-1 */ to the Arts Council there is an enormous gulf in acceptability between


the two, a difference invisible to you and I. One of these works, that recently unveiled outside the tacky new public library in Birmingham and called A Real Birmingham Family, is a ‘challenging’ piece presenting two local women and their children.


The other, depicting women in overalls and commemorating the crucial contribution
of female workers to the
steel industry during the World google_ad_slot = "6023194682"; Wars, will

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soon be unveiled in Sheffield.

The Birmingham sculpture is by former Tate trustee

and Government collections: curiously, all four own an edition of the same print, unnecessary duplication of a kind that ought to have been outlawed google_ad_width = 970; years ago. google_ad_height = 90; Wearing’s family sculpture was administered


local Ikon Gallery, which itself receives over half a million a year

​ from the public.

In contrast, Sheffield had to

find all the google_ad_height = 90; money through public donations because Martin Jennings is the wrong kind of artist.

State Art always prefers ears to eyes

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has never based funding decisions on /* 9-970x90 */ the merit of what you actually see. Why artists nationwide are

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