Here’s a random sample of my postbag: an invitation to a mixed exhibition of nine artists’ interpretation of ‘focus’ through painting, photography, digitisation and computer manipulation; notice of a show of photo-text, photo-document and photo-juxtaposition-cum-montage pieces about HIV and place; and the press release for an installation of scarlet mobility scooters which is supposed to be ‘a reflection on age, youth and contemporary Britain’.
Clearly Britain is in a bad way. A watered-down conceptual art is the current orthodoxy. Much of what looked new and radical when it first emerged in the 1960s is now being run past us again, and it’s limping badly. And so much of it is the same. It really looks as if art students were issued with a pattern book of how to come up with a show – six ideas on the back of an envelope: good tried-and-tested old concepts that won’t cause anyone too much trouble.
Comments
Join the debate for just $5 for 3 months
Be part of the conversation with other Spectator readers by getting your first three months for $5.
UNLOCK ACCESS Just $5 for 3 monthsAlready a subscriber? Log in