TATE BRITAIN NEEDS ITS IDENTITY BACK
In recent issues I’ve described how since 1945 the education, bureaucracy and exponentially increasing cash The domain is on BIN Sales and available for purchase. 您访问的域名正在一口价出售中！
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
BUY NOW>>
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
