of the Tate Gallery, has used the platform of the BBC in a blatant attempt to deceive the nation. Either that or he is genuinely deluded himself. Both options render him unfit for <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> major public office. He was <frameset rows="100%"> confronted on <body><script> Radio 4 programme The Reunion: Tate Modern on September 23rd by Sue MacGregor, regarding the Tate’s […]</p>
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<h2 class="title"><a href="http://www.thejackdaw.co.uk/?p=1699" title="Permalink to Overkill: art rising from the dead" rel="bookmark">Overkill: art rising from the dead</a></h2>
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<p>Things have gone rather quiet on the mortality front since queues stretched around the White Cube block in Mason’s Yard for a <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> sight of Damien <body><script> Hirst’s £50m sculpture For the Love of God. link In those days of skulls and diamonds, Paul Wilks wrote to The Jackdaw lamenting the morbidity of contemporary art, wondering why two horrific world wars […]</p>
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<h2 class="title"><a href="http://www.thejackdaw.co.uk/?p=1685" title="Permalink to Champagne feminist" rel="bookmark">Champagne feminist</a></h2>
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<p>Sixteen years ago, I link wrote an article <noframes> for a short-lived women’s art magazine called Make
