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FEATURES
Art’s Debunkers
Dave Beech goes head to head with Julian Stallabrass over the arguments Stallabrass puts forward in his new book Art Incorporated, The story of Contemporary Art.
‘Here we find the debunker’s full range of complaints. Artists are either cynical or naïve, curators are calculating, dealers, sponsors and collectors follow the money, art writers are largely academic, and the political support of culture is a threat to art itself.’
EDITORIAL
God and Mammon
Politics, censorship and freedom of expression and the rise of the religious Right.
It is wholly admirable that the Culture Secretary, Tessa Jowell, has asserted that she is happy not to make decisions about the censorship of cultural works, especially since the majority of calls for censorship emanate from religious pressure groups. But does this put her at loggerheads with New Labour’s position in relation to the Christian Right and with the Prime Minister in particular?
EXHIBITION REVIEWS
100 Artists see God
ICA, London
Sally O’Reilly
Richard Grayson
Matt’s Gallery, London
Peter Suchin
Jannis Kounellis
Modern Art Oxford
Marcus Verhagen
Pedro Cabrita Reis
Camden Arts Centre, London
Tony Wood
Joan Jonas
John Hansard Gallery, Southampton/ Wilkinson Gallery, London
John Slyce
John Murphy
Ikon Gallery/ Barber Institute of Arts, Birmingham
Martin Herbert
Ellen Gallagher
Fruitmarket Gallery, Edinburgh
Nicky Bird
Gary Simmonds
One in the Other, London
Eliza Williams
Cordially Invited/ Time and Again
BAK/ Centraal, Utrecht, Stedelijk Museum CS, Amsterdam
Michael Gibbs
Eddo Stern / Marina Zurkow
FACT, Liverpool
Jonathan Harris
Pin-Up: Contemporary Collage and Drawing
Tate Modern, London
Sara Harrison
Faces in the Crowd, Picturing Modern Life from Manet to Today
Whitechapel Art Gallery, London
Amna Malik
BOOKS
Morgan Falconer recommends repeat reading of The Infinite Line: Re-making Art After Modernism by Briony Fer. ‘While repetition has become a given in contemporary art - and often a somewhat lazy technique for lending frisson to otherwise banal content - despite some intelligent thought on the subject in essays by Mel Bochner and John Coplans and others, its art historical origins have rarely been seriously considered.’
Ian Hunt reviews the new book by Guy Brett Carnival of Perception: Selected Writings of Art. ‘Freelance art criticism and curatorial work are short of long stayers. Guy Brett is one of them, and his kindly and quizzical writings wear their long experience - and the consequent impatience with some aspects of the art world - lightly.’
REPORTS
Independent publishing
David Briers on artists who self-publish.
ARTLAW
Copyright
Henry Lydiate on artists’ use of common sources.
SALEROOMS
Colin Gleadell reports from the New York Salerooms and asks just how much hotter can the contemporary art market get?
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