There is a distinction between Joseph Beuys and the industrial processes used in contemporary art by Jeff Koons and Hurst, Norman Rosenthal is a salesman that uses art history to give himself a purpose He is a puppet for contemporary commercial artists and occasionally represents the British art establishment.
This section surveys a collective that exists to protect the art system, often unqualified may have honorary degrees they are easily managed submissive to the art establishment, black and other minorities are processed through the art system when there is an awareness the system is dominated by a middle-class white structure. Jeremy Deller fills a gap that art should have some societal value it is more fraud disguised as art. these people are rewarded given royal titles prizes monies and large amounts of public funding to maintain a collective silence they live a privileged life at the expense of artists and make a career out of playing the victims of discrimination they serve a purpose by regurgitating a narrative that tells us what we already know, art establishment/gallery directors endorsing stupid is a form of censorship
There is a distinction between inventing / managing a collective with learning difficulties and representation of artists that have learning difficulties or a disability. Shadowlight are managed to create the impression of representation.
The art system employs a small but expanding army that have been invented to tick all the boxes on race, disability, sexism, ageism - art is redefined and made to accommodate a wider definition and invites anyone willing to fit a system that revolves around self-preservation.
The art system gives you insight into political systems and strategies of social engineering, maintaining long-term racial and social fragmentation - economic structures and the movement of wealth from the poor to the privileged, institutional corruption and how this economic norm has influenced a fine line between contemporary art and organised crime.
Alis Oldfield is an artist whose practice is inherently multidisciplinary, using varying means to immerse the viewer in constructed worlds. Focussing on willing suspensions of disbelief, her work plays with the fictions we create for ourselves. Revealing their own construction, these worlds cultivate friction between fiction and reality – examining the edges of belief.
Contemporary galleries have conflicting dynamics, a different perspective on what art is, this is determined by the director/curator.
Inventing artists instils loyalty - the director/curator has control over his or her investment.
Ikon gallery is more about the Ikon brand and how the brand empowers the director, in a meeting with Jonathan Watkins 2016 it is clear that opportunities with the Ikon gallery revolve around Watkins using the space to inflate the commercial value of art or anything he defines as art and developing a special reciprocal relationship that requires a donation of art to the Ikon gallery
Reciprocal relationships with art directors/curators can include art donations to their personal art collection.
Paul Hobson things have to have a reason for being, there is a huge amount of work that doesn't have a necessity for being.
Penny Woolcock is a product of invention, part of an industry of expert at extracting public funding and reinventing themselves as artists, it's an epidemic influenced by the art market and a product of a dysfunctional Arts Council England and the need for art curators and directors to represent diversity, the art system is haemorrhaging public money on an industrial scale feeding anyone recognising a social need that attracts public funds, which they accommodate with invention disguised as art.
Emma Ridgway's attempt to legitimise Penny Woolcock's work as deep and complex "From within" and beyond explanation employs a manipulative usage of art language, Woolcock's work is neither complex or beyond explanation, it is transparent/obvious
In the arts, blacks and the poor have become a commodity an opportunity for the privileged, another box to tick to ensure funding for an art project/career, social division, gangs and poverty are a product of privileged extracting the wealth of a nation - Penny Woolcock, Alistar Hudson, or anyone playing the system - playing on inequality to invent/further an art career.
Woolcock's work is more a promotional video for Penny Woolcock resembling a commercial advert trying to be arty, Woolcock is a film director and not an artist, part of the wider corruption in the art system a corruption many people are aware of but are invested in.
Twenty years ago the conversation among Birmingham black fine art graduate with teacher training qualifications revolved around the question - Why are all the fine art lecturers white? the conversation now is why are so many fine art lecturers white and unqualified?
Arts Council England operates at arm’s length from the Government,
Michael Ellis MP
Post Peter Bazalgette's keynote speech (fig 01) art has been redefined, individuals and institutions attach themselves to blacks or poverty reinforced by gallery structures - poverty has become a commodity to invent or further an art career.
Fig 28 text 01
Jonathan Watkins / Elizabeth Ann Macgregor Ikon Gallery 2021
Chair, Peter Bazalgette, delivers his speech at our event at Sadler's Wells on 8 December 2014, outlining a 'fundamental shift' in the Arts Council's approach to diversity, and placing responsibility on every funded organisation to make their programme of work more reflective of the communities they serve.
Turner Prize decision: Lubaina Himid: “It was a box that needed ticking.” As a black woman in her sixties, in the year that the prize lifted its age imit, she says: “I just happened to tick every box there is to tick.”
