Editorial – November 2017

AND I SAY

​ TO

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MYSELF

Remain alert to the possibilities, eyes up instead of down, looking about instead of google_ad_width = 970; transfixed google_ad_client = "ca-pub-3967079123942817"; by a small screen, and daily

life will furnish marvels, often in unexpected places. Exploring the streets and free institutions of a city src="//pagead2.googlesyndication.com/pagead/show_ads.js"> like London is a journey through
natural and man-made masterpieces, ingenuity everywhere apparent. To stand any

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chance
of impressing in
such a sweetshop official Contemporary Art needs to try a lot harder than

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it has so far.

Here are some sights that have captured my attention in only the last few days: the perfect functional simplicity of a clinker built signal box standing high over a complex railway junction; Lindsay Clark’s war memorial on //--> Borough High Street – a crouching Tommy advancing through slutch and rotting flesh, death imminent; sublime choreography

switched off

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in a suburban garden; the physics-defying flying monster, all Mekon forehead, that is the aircraft
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specially designed to carry watch the greatest works by the greatest artists in the greatest art form of the 20th century that is popular cinema. In the last fortnight alone Michael Curtiz, Welles, Coppola, Fellini, the Boulting brothers, Kubrick, Michael Powell, Tarantino, Tarkovski, Marcel Carné, Scorsese,

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Vittorio De Sica,

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Eastwood, René Clair, Visconti, Mike
Nicholls, MGM, Renoir, Sergio Leone … Stories and spectacles galore, collaborations of vast teams of those uniquely skilled with paint, music, sounds, costume, movement and google_ad_height = 90; make-believe, all with a powerful urge to entertain.

400;"> Everywhere, in our free galleries, at home, on line, in the sky and in the street, and from the top deck of the 73 bus, we are gifted the miracles of geniuses making our lives better.

And yet

the shower placed in charge of visual art supposedly for our google_ad_slot = "6023194682"; benefit
gush critical superlatives – in deluded expectation of eliciting the same google_ad_client = "ca-pub-3967079123942817"; response google_ad_width = 970; from us – about
a plaster cast of the
inside of a hot water bottle or the

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space underneath a chair. google_ad_slot = "7160667483"; Really, who
do these gullible twerps think they are kidding? State Art and its /* xin2 */ creepy synod of apostles needs to get
out more: the world’s amazing but what they show us is not. Public indifference to what they insist on forcing upon us is hardly a surprise. And this is the reason they had to make Rachel

Whiteread’s Tate exhibition free when all their other shows cost a small fortune, otherwise the place would have been
a ghost town. Any death mask is more stimulating than Whiteread’s entire oeuvre.

David

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Lee
The Jackdaw Nov/Dec 2017

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