Woodcut for cover of Dada 3
Marcel Janco, 1916
LONDON DADA
Establishing Dada's UK expression. 2005 – 2022 Archive / 6191 blog resource
Woodcut for cover of Dada 3
Marcel Janco, 1916
LONDON DADA 
Certainly not DD! But then I wouldn’t allow myself to be dictated to after I’d made my name and some cash.
I’d definitely use my position to make some radical statements even if that meant being demoted by the establishment. But I can’t see that Emin for example has it in her to even want to do that, she’s a safe simple pair of hands -maybe thats why she was chosen ITFP.
Notice how all the art on show in both Tates and eleswhere is nice and safe. There’s nothing of any real spit or challenge there. That’s deliberate censorship going on therefore, to me it’s sham art.
Even the Dada retrospective at the Hayward that Phil went to in the 80s was all amiss. They never made the entrance to the galleries run through the toilets as they did at the Cabaret Voltaire in 1917.
Now THAT was Dada!
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What you are talking about is commercialism isn’t it? Now I ask you is it the Saatchis of the world or the artists themselves or indeed both who are lured into this ‘reality art’. The wealthy can afford to have artists create what they tell them, the artists can’t afford not to do as they are asked. Unless of course they dig their heels in and clearly say NO – but they won’t will they???? And would you turn down 150K for your messy bed??….DD
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ah yes shocking art….Hurst, Emin….the whole Saatchi Gallery full of naked people lying on a floor…well done britain…
well done.
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Oh yeah, forgot about the elephant dung! That was the best that one.
It’s ok to shock to make a point- as we do sometimes – but if that’s all they can do and then claim the dung/bricks/boxes/sawn cow/pharmacy/bedroom stuff is to be taken seriously, via some high brow philosophy that only they can understand – that tells us something about their deviousness and their well of creativity too, I think.
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i remeber when at school and Chris Ofili won the turner with the elephant dung.
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Not sure of the time frame on all this Hobbit but the first big public shock tactics art I remember was the pile of bricks at the Tate, I think in the 1970s?
Little depth of vision, just shock value,like Hurst’s sawn cow or shark in a tank -to draw in the paying crowds like circus or a freak in a side show.
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when did it stop being about having something to actualy say? and not what your being told to say because it will sell or win?….”hey im white, but im gonna paint a picture of black slavery becuase its shit hot right now”
i find that more of a turn off then a turn on not to mention offensive and pathetic. Saatchi has become some sort of Bond villain and so far up his own arse his recruiting minions we never thought cared enough about their soul to sell it…..
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Saatchi makes the winners do some art connected with the Holocaust, it sounds almost like a condition to me. Banksy the incognito graffiti artist has recently been courted by Saatchi after 10 years tagging police stations and bridges. His first work under his new master?
To paint the women survivors of one of the concentration camps wearing bright red lipstick.
Whiteread, after winning with the concrete house does a holocaust memorial in Trafalgar Square.
These establishment artists are not free to produce according to their art conscience. They are like pampered birds in a cage, it is as you say Hobbit, these prizes mean little.
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i was goign to say that…why the hell do they still bother? its an insult to even be interested now, it means nothing to anyone…id rather win the FA cup…
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Of course, as long as you realize it’s rigged and nothing that really spits will ever get through.
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As i do…As i do.
but?…should we discuss the Turner prize and the likely winner?
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Like what you like, Hobbit one!
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i love that…but am i wron gto have also liked the concrete house?
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