Tag: Archive

David Lee November/December 2020 In the last editorial, when describing the new full bloom of official Wokeism, I didn’t have space to consider if, in the context of State Art’s exclusive obsession with conceptual and minimal art, work selected without resort to the gender/sexual/racial ticklist would be of a higher standard than what is chosen… Continue reading They All Look The Same To Me

David Lee September/October 2020 A watershed moment in the official story of art has been reached. Unlike in the first decades of the last century, when experimental isms followed one another annually, the first decades of the 21st have until now seen no signal change in direction or emphasis: recently, in contemporary art we’ve been… Continue reading Waking Up to Tyranny

David Lee July/August 2020 It’s been hard to avoid following the fortunes of our present crop of self-appointed ‘war artists’. You may recall from the past, as I do, that many of the finest achievements in 20th century British art were produced in response to war. Artists rose to the occasion. So how has the… Continue reading Please Like Me, Please

David Lee May/June 2020 A few inches of headway have finally been made in drawing wider public attention to the power grabs of the Arts Council and the political and social prejudices of State Art in general. The House of Commons Culture Select Committee must now get its act together and take to task the… Continue reading The End of the Beginning

David Lee March/April 2020 The Arts Council is offering a contract worth £42,000 for an expert to draw up guidelines on how museums must deal with what it calls ‘decolonisation’. Naturally, conclusions reached will be expected to reinforce the Council’s existing prejudices: it supports repatriation where possible, and exhibition contexts, especially captions, must report the… Continue reading Legalised Blackmail

Remain alert to the possibilities, eyes up instead of down, looking about instead of transfixed by a small screen, and daily life will furnish marvels, often in unexpected places. Exploring the streets and free institutions of a city like London is a journey through natural and man-made masterpieces, ingenuity everywhere apparent. To stand any chance… Continue reading And I say to myself…

In the beginning the powerful provided the unlettered with uplifting Biblical pictures in churches. We were impressed ­even though some scenes threatened us with eternal agony if we broke their rules. The scarcity of pictures outside of church meant we were naturally curious about anything drawn or coloured. Wandering pedlars would show up to impress… Continue reading Art and the public – a short history

In the last issue I noted the gradual but relentless erosion of space allocated to historical pictures in Tate Britain. This contraction will now accelerate because the collection is to be re-hung, yet again, on this occasion thematically – a policy undoubtedly designed to demonstrate the State Art Commandment that all roads shall lead to… Continue reading Wholesale gratification

In recent issues I’ve described how since 1945 the education, bureaucracy and exponentially increasing cash for the visual arts have been usurped and dominated by an evolving one-track mindset which, in these pages, is called State Art. This sinister subversion of the institutions, predicted before and after the last war by Eliot, Wyndham Lewis and… Continue reading Tate Britain needs its identity back