in Comment

Charles Thomson: Lies, Damned Lies and Serota at the BBC

Sir Nicholas Serota, director link 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 [&hellip;]</p> </div><!-- /.entry --> <div class="clear"></div> </div> </div><!-- #post-1828 --> <div class="clear"></div> <div id="post-1699" class="post"> <div class="post-content"> <span class="meta"> in <a href="http://www.thejackdaw.co.uk/?cat=3" rel="category">Comment</a> </span> <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> <div class="entry"> <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 a letter to The Jackdaw lamenting the morbidity of contemporary art, wondering why two horrific world wars [&hellip;]</p> </div><!-- /.entry --> <div class="clear"></div> </div> </div><!-- #post-1699 --> <div class="clear"></div> <div id="post-1685" class="post"> <div class="post-content"> <span class="meta"> in <a href="http://www.thejackdaw.co.uk/?cat=3" rel="category">Comment</a> </span> <h2 class="title"><a href="http://www.thejackdaw.co.uk/?p=1685" title="Permalink to Champagne feminist" rel="bookmark">Champagne feminist</a></h2> <div class="entry"> <p>Sixteen years ago, I link wrote an article <noframes> for a short-lived women’s art magazine called Make