Editorial – May 2017

TATEBRITAINNEEDSITS IDENTITY BACK

In recent issues I’ve described how since 1945 the education, bureaucracy and exponentially increasing cash

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for the visual arts have been usurped and dominated by an evolving one-track mindset which, in these pages, is called State Art. This sinister
subversion
of the institutions, predicted before and after the last war by Eliot, Wyndham Lewis and Orwell among others, is complete with the recent appointment of Doctor Balshaw as overall Director of the Tate (see last editorial). She understands nothing but that which is ‘Contemporary’, a qualification (if that is an appropriate description) which makes her uniquely unsuitable for running three galleries with what should be historical and scholarly functions.

The sad truth now is that the Tate has become a gallery of contemporary art with a marginalised historical concession on google_ad_width = 970; the

side, whereas its original

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function was the reverse of this. The revolution //--> that has taken place for this to happen over the last half century is an object lesson in change by incremental stealth. It is the perfect demonstration of what Rudi Dutschke meant when, confronted with the fact that a
successful immediate proletarian revolution was impossible
in western Europe, he referred to the necessity to operate clandestinely from inside, a process /* xin-1 */ he famously dubbed “the long march through the institutions”. This would, he predicted, lead to the eventual substitution of one establishment by another independent of src="//pagead2.googlesyndication.com/pagead/show_ads.js"> any popular support.

And in the
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case of the contemporary

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visual arts this means a far more repressive, hidebound and authoritarian regime than the one it replaced.

Writing in 1971

the rest are dedicated to conservation and managerial wonks with mystifying

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job titles.