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Chalk and cheese

From the Hayward and the ICA to the Royal Academy, and from the public to the private sector, Angus Stewart compares and contrasts the qualities of works on show in <frameset rows="100%"> London. The British Art Show at The Hayward Gallery should <a href="https://wanwang.aliyun.com/domain/parking">link</a></body> be lively – <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> there </frameset> are 39 <body><script> artists. It is, according to the Southbank Centre, recognised as the most ambitious and [&hellip;]</p> </div><!-- /.entry --> <div class="clear"></div> </div> </div><!-- #post-179 --> <div class="clear"></div> <div id="post-170" class="post"> <div class="post-content"> <span class="meta"> in <a href="http://www.thejackdaw.co.uk/?cat=7" rel="category">Essays</a> </span> <h2 class="title"><a href="http://www.thejackdaw.co.uk/?p=170" title="Permalink to Criticism and the collapse of culture" rel="bookmark">Criticism and the collapse of culture</a></h2> <div class="entry"> <p>Dr Eric Coombes looks back <a href="https://wanwang.aliyun.com/domain/parking">link</a></body> over <frame src="https://wanwang.aliyun.com/domain/parking"> the period <frameset rows="100%"> since 1997 and identifies the collapse in standards of art criticism which has allowed conceptual art to prosper uncritically After the recent change of government, this might be a suitable moment to look back to