Stuck in the past? : Serota and Stuckists

As a professional ‘misery guts’ and also a professional creative I somehow come from both sides of
the argument at the same time….

Having taken all that bitter rant to a new location by transforming it into the artwork itself how thendo the more scathing of the above commentators ( especially the first past the post nocturnal expert who has little else to do) going to react to venom as art?

Probably not all that well and…..oh dear there I am again consigned to the scrapheap of irrelevance in the archive….nothing new there sweeties…

I brushed up against Charles and his mob early on and indeed went to the show near Liverpool Street. The arguments were sound the art was not and I thought then it lacked technical ability and no fruit of the Vine has convinced me it has changed since…sorry Charles. Saatchi accomodated it and removed its sting by snatching at the Vine and the Tate and Serota can now easily brush it aside like flies off a Hirst.

Serota created a marketing opportunity by driving up South Bank retail activity on a scale that has lead to similar schemes across the country. From an economic standpoint he a genius and deserves all he gets.

His Tate Boredom is less successful despite the hype which must be maintained to justify the rash of similarly blighted projects across the country now the ‘extra cash’ in the punters pockets not jingling so freely.

Some things it does well…some things badly. The John Lewis food halls with ‘artistic’signatures and the badly hung floors are one side of the coin…the Twombly the and Fred Williams the other. …one thing one cannot accuse Serota of is not knowing his art though.

The Stuckists have always had an eye for the PR opportunity ( very new-Tory there) and JJ you have sadly served their purpose well again as the replies show.

There are larger problems with the intrinsic structure, nepotism and wholescale destruction of value in the art world. Solid scholarship and sound criticism have been all but undermined by the flush of cash. Catalogue entries became advertising jingles…..movements became PR stunts….artists became curatorial pawns in a heady dance on the ashes of skills and tradition.

That is the real rot in the barrel of plenitude and splendid aisles we now traverse.

I sometimes dream of another art world where Jopling and Saatchi never appeared where Artscribe and Modern Painters and Peter Fuller did not cease to exist in a vibrant,  critical form. An art press not dependent on favours, nepotism and Gucchi adverts. Of course it just a dream….a fantasy…

Values are such unfashionable things and can blight ones career so badly…

Until then I will continue to seethe in the wings with all the other poor failures and provide such good copy for the metropolitan elite with their effortless superiority.

Or maybe just maybe….there is truth in our reality somewhere after all……an uncomfortable truth those who have most to lose should the rules change…would rather ignore or disparage…

There’s the rub methinks….

self promotional link follows….

after all no criticism ever hurt as much as being ignored…..

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Shaun Belcher

Contemporary art critic

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