‘Sculpture’ versus Sculpture

they go along. This gullibility on our part for allowing it to happen, and the smug charlatanism

Process Overview:

of those in authority who are impervious to and ignoring of
criticism, is the inevitable result of being for decades

of conceptual conceit must of necessity be
a sculpture-free zone because src="//pagead2.googlesyndication.com/pagead/show_ads.js"> the last thing Wearing wants is for the object to be gauged by its form
rather google_ad_height = 90; than for its ‘idea’ – albeit one which, to the rest of us, would be so small as
to be not worth the effort and expense

of illustration. As sculpture it stinks, it’s stillborn.

In contrast, src="//pagead2.googlesyndication.com/pagead/show_ads.js"> the Sheffield piece is a work of imagination and looks like a sculpture because it was made, with his own hands, by Martin Jennings, a renowned specialist in this google_ad_client = "ca-pub-3967079123942817"; area of modelling and invention.

To State Art this sort of traditional approach is vile anathema.

But

here’s the real rub. Conceptual art, even when it comes in the otherwise despised bronze figurative form, is funded by the Arts Council, to whom Wearing is well known. She has had google_ad_width = 970; two national touring shows and has exhibited /* xin-1 */ in every ACE-funded gallery. ACE also bought in 1999, for £30,000, her Turner Prize google_ad_width = 970; winning film in which two dozen coppers stand silently

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still for an hour. Confirmation of her A-list status is supported by the fact that 31 of her works are in

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the google_ad_slot = "6023194682"; Tate, Arts Council, British Council and Government collections: curiously, all four google_ad_slot = "8637400688"; own an edition of the same print, unnecessary duplication of a kind that ought to have been outlawed years ago. Wearing’s family sculpture was administered by local Ikon Gallery, which itself receives over half a million a
year from
the public.

In contrast, Sheffield had to //--> find all the money through public donations because Martin Jennings is the wrong kind of artist.

State Art

​ always prefers ears to eyes and has never based funding decisions on the merit of what you actually see. Why artists nationwide are not campaigning about ACE’s continued

unfair discrimination and
casuistry is baffling.

Here

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