Laura Gascoigne: The Art Police – November 2017

If you’re thinking of committing an art crime, now’s your moment. In June budgetary pressures forced the ‘temporary’ closure of the Met’s Art & Antiques Squad

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and the transfer of expert staff to the Grenfell Tower fire investigation, and there’s no knowing when, if ever, they’ll be back. So it’s bye-bye blue light, hello green light to thieves, fakers, fraudsters and traffickers of looted /* xin2 */ antiquities who fund the terrorism the rest of
the Met
is struggling to combat.

But it’s not the end of art policing; while the official force has been disbanded, unofficial forces are taking over. Alexander Adams’ article New Order in the last issue was a cogent analysis of how the enforcers of the new identity politics

are effectively
policing public exhibitions. Since his report there have been further developments in the case of the Dakota Elders v Sam Durant, whose sculpture Scaffold was removed from Minneapolis Sculpture Garden after complaints that as a non-Native American he had no hereditary right to refer in his google_ad_width = 970; work to the hanging of 38 Dakota
Indians by the US Army in 1862. Initially condemned to be burnt, the

dismantled Scaffold
will now be buried in a secret location. Meanwhile poor old Jimmie Durham, who has spent a lifetime trading

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on his Native American ancestry, has been denounced by a group of snooty Cherokees as a fake for not being a registered member of the Cherokee Nation. Once an art degree was qualification enough to
practise art; now you need registration with your tribe
or ‘subset’.

On this basis,

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only pure-breed something-or-others should be allowed to

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make public statements, artistic or otherwise, on questions of race. As a half-Italian, quarter-white-West Indian, quarter-Northern-Irish crossbreed I would src="//pagead2.googlesyndication.com/pagead/show_ads.js"> probably be wise
own way for far too long and, yes Guerilla Girls, src="//pagead2.googlesyndication.com/pagead/show_ads.js"> if women don’t have to be naked to get into the Met, /* 9-970x90 */ that’s
progress. But

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can positive /* xin-1 */ discrimination in the present reverse the injustices of the past? Nearly all the art preserved in our museums was painted, carved or moulded by

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men for men, a historical fact that
retrospective action cannot change. Maria Balshaw has been making appropriate noises about adjusting the historical gender balance in the Tate Modern by acquiring a Frida Kahlo – an expensive price to pay for a minor tweak google_ad_slot = "6023194682"; – while in Tate Modern’s contemporary displays Frances Morris has already established parity between the male and female artists represented. For the moment, the
pickets because there are almost no historical WMAs in the top rank of crowd-pullers who are without sin, and some are offenders on multiple counts. Take Gauguin, the subject of Tate Modern’s moneymaking blockbuster of autumn 2010. Child abuse:

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check. Cultural appropriation: check. Passing on the clap to healthy young women: let’s not go there.

The difficulty here is that google_ad_width = 970; art is funky. If the Tate examined its conscience it would have to confess that misbehaviour adds to an artist’s appeal.

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How else did the bad boys and girls of Britart awaken public interest in the Turner

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Prize? Since the subset-appeasers took over running the show, it’s become so boring it has had to src="//pagead2.googlesyndication.com/pagead/show_ads.js"> be exiled to Hull. Sooner or later our publicly funded galleries are going to have to face up to this conflict of