Work 612, The Dark Soul of Tate Modern / Yellowism explained


The Dark Soul of Tate Modern
c. Michael St.Mark / Art Axis 2012

Dark soul Triptych
Derived photo triptych ( actual work ) 26″ X 19″

First in a London Dada series investigating the Tate Modern tourist attraction… click to enlarge.



In the Mark Rothko room, Sunday 30th September 2012 …Vladimir & friend reccy”ing for a little Yellowism addition to a Rothko in a week’s time? ( Sunday October 7th )
Nice piece of Serendipity again from Art Axis…

Vladimir explains

This is Not Yellowism, apparently.

2 thoughts on “Work 612, The Dark Soul of Tate Modern / Yellowism explained

  1. I particularly love the photo of the outside of the building as ‘Urban’ photography is my favourite!

    Never having been inside the T M i can’t speak for the inside, although judging by ‘stuff’ i’ve seen on tv or in magazines some of it appears to be drivel and certainly not what i would call art.

    Just how do the so called artists get away with it?

    And does one have to be part of the elite ‘in crowd’ to exhibit in there?


    • Because, Anne, the whole UK arts scene is a cesspool of nepotistic cronyism ( shock horror! ). The old adage “its not what you know but who you know / arsepan-to that counts, has never counted more than it does today.

      The miniscule catchment area for talent resulting from long-term cronyism ( promotion on the basis of social/business connections ) explains why Tate Mod’s become little more than a souped-up museum dishing out the same warmed-up thin art gruel of the past – catering to the tourist crowds. The faces on the people exiting the Turbine hall are something to behold… pale, drawn and stupified with terminal tedium at the drabness on show, glad of the fresh air and a sight of the beautiful sky again.

      Tate Modern has a dark soul because the clique of people running the show are (creatively) dark within. No vision beyond gigantism, no inspiration or ideals aimed for, nothing that feeds the soul – a dead-end talking shop of sterile high brow waffle and schmooz.

      They dare not risk the real, the immediate new, much beyond harmless transvestite pottery doodles for fear accidently offending their political masters up-river by showing something with a present day social or moral conscience for example.

      Politically convenient support banners for Chinese dissidents are writ large & brandished proudly from the rooftop while the name of Bradley Manning dare not be whispered.

      A perfect shower of shameless self-serving bastards


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