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Edwards' First Name at This Sensi Merlin Carpenter Matthew Collings Our paintings and graphics throw Edwards’ first name at this sensi- discourse of “medium specificity” might be seen as the parents of clear for them how to respond to desire to be a “Goldsmith’s artist” and embarrassment, rather than fact these later developments framework for analysing art’s pop- From my point of view, Carpenter’s It featured work by a handful of Matthew’s style produces any Carpenter and his cronies, plus the opened up within the media: eyes are the wrong colour). It is support group. In this review he Surely society was abolished by But when is this “present”? And referring to a story about Lucas forced to accept that bullshit is as His paintings are brutal abstracts more aesthetic. Some are more Our paintings are against this ap- a good one. But should writing be Media Guy Our PaintinG s down the glove to what’s going tive point. (Perhaps while polishing is an intellectual talking shop full the popularization process having the success of the big push. In on the most grand seriousness. A scene arrives had already terminated yBa, ularity is worth reading. ” (p 124) art practice is often funny. New figures discussed in the book, with serious results in terms of actual more commercially successful ones “a space where the avant-garde‘s certain that Buchloh’s language often seems to be communicating Thatcher? I am not defined by for what audience? This process involving an accident with a piano, natural as breathing and as vital that do little for a renewal of poetic. But with all of them I think proach but we don’t refute the about a relation to history and a on now. They are not nihilistic. his halo of populist know-how he of ingenious possibilities. audiences approaching half a 1987 Matthew Collings and Stuart pathetic level. It’s not bizarre to do an MA; it that demands only enthusiasm. which leaves jet skis are exhibited in front of his fashionable and unfashionable thought, and not only the kind he regards as his intellectual inferi- former claim to disregard the is deliberately and strenuously to friends who share a set of short- nationhood and do not want to obviously breaks down outside a or one where a follower of to existence. His bullshit is strong. painting, but their inclusion does that there is a secret visual quality idea that the entire world of specific notion of cultural political avant This review from eleven years ago They are not ironic. They can’t be slipped to an association with Somewhere in it is an idea about million each, Sarah with Time Out Morgan were still saying that might be to do it for the reason There’s something people aren’t Matthew looking The book doesn’t celebrate impor- makes his judgements irrelevant paintings of fashion models, to artworks hung together. produced by accident and against ors in the rigour of his practice. (It’s persistence of social memory em- bourgeois-resistant where hand expressions, enigmatic be. Out of the three problematic certain middle-class culture and Carpenter’s (trained by the master, Yet surely there must be a more at least nod towards half-recog- which is important. The nation is appearances is an epiphenome- potentialities or about serving up claims I am a right-wing backslider read as an expression of dema- Lionel.) His sensational count of time as material. This has tangi- and Matthew with the chattering there was no such thing as ‘British Carpenter states, but since he has saying. The book fleshes out the quite exposed. tance when one-liner sensation- for a serious discussion about and demonstrate that art is a luxury the grain. Compare Collings no accident that Liam Gillick meets bedded in institutional practices Carpenter’s is virtually indistin- beyond the circle. The hierarchical concepts “Art”, “Crazy” and its related economic conditions. after the book came out, to turn transformative way to engage nised and nearly-repressed sur- crazy about art now, but they non of the movements of capital. a salad of interestingly ironic Disclaimer: I am in Matthew incapable of genuine criticality. terialised, post-industrial produc- “eight” in four pages seems to win bility for us as we struggle with classes who had tuned in to BBC art’ (True Brit: An Enquiry into manufactured this reason himself unsaid by picturing the scene alism changes to sensationalism within the contexts he addresses. commodity. Students assist him at Nice, light and fashionable, to Benjamin H.D. Buchloh. Does Argos in the same sentence, or that and discursive conventions has guishable from mine. The only implications clash with statements “Nation”, the third is most illumi- You do not lose anything, certainly away with a shudder if we ever with art. plus-value. In the book Wragg don’t know what it is they are It fuels our interest in heightened Great British compost? Collings’s new book Art Crazy I disagree and I will explain why. I tion. They start from a conceptual all arguments. In fact there are colour-leads we’ve set up but not 2’s Newsnight and drifted into The National Character, Artscribe no. it only highlights the subjectivity almost entirely in terms of hilari- with an addition of one-liner Not accidentally, the “Marxists” he one of his private views by dress- though. the former’s adherence to the sur- he enjoys giving a sly kick to Tacita been exchanged for the recogni- exception is when he directly hinting at revolutionary egalitari- nating about not aesthetically, by clearly stating accidentally met) agrees with struts in front of his paintings like looking at.” seeing. For some of “us” the challenge in Nation and his Art Crazy Nation should say initially that in the past, basis, two people from diverse two, both trivial. The year of yet adequately followed through. Late Show (1989—1995). The 61, 1987). The market-led lifestyle of his narrative. ous discomfort. politics. Since he wrote this review chooses to mention are Marxists ing up in colourful versions of Abu Carpenter ironises perceived face actually change the terms of Dean). Instead it expresses what it’s tion that it is precisely from the quotes a heavyweight. Or else anism. He might mean that some Collings’s milieu. It’s clear that the “us” element in the contingency of the bubble. me in a frivolous chat, that yBa This tautology leads to mythologi- a pre-ironic rooster. (Milton Keynes The passage continues: “Or Our work is careful and laborious, all of this is not to find a language Show in Milton Keynes. So it with the books and TV program- fields turn over and look at lost Kippenberger’s death is stated as art features he made for this pro- culture embodied in Frieze could Carpenter has achieved high lite whose main Ghraib outfits, to show the con- vacuity. the artistic paradigm, as Buchloh like to have to hear about their reflection of these conventions that incorporates phrases and terms of the work criticises the social the booklet doesn’t mean “nation- The offensiveness of yBa, which “still rules.” (p 197) zation and the reintroduction of Significantly, too, Matthew has Gallery Bulletin). they’re horrified by it and they with the aim of producing an im- that is invisible to Collings. This maybe a bit ungrateful for me to mes Carpenter mentions, my prac- knowledge, a lost interest – colour. 1998. And the printers have It therefore cannot serve an gramme were a curiosity. They only have been a Frankenstein But more importantly, it was his But, since he has never specified status in fashion-conscious sectors concept is self- It might be helpful to consult a nection between consumerism demanded of Warhol, or preserve obedient disobedience all the time. the only remaining potentials immediately recognisable as conditions in which art is seen and alism” but, “Today one is often Matthew only partly recognised, notions of quality on another level. now become a fan of supercon- don’t know what they’re looking age in which there is no pictorial has already happened. It is more suggest that he is an art buffoon. tice was negation. I was comment- It used to be part of what an flipped a photograph so abstract informative purpose of any kind were not quite a celebration of monster in the eighties dreams of turning point between being this, only implied it by over-cele- of the global art world, through promotion. psychotherapist about the content and atrocity. Banks are Bad is Milton Keynes is a city designed at least the hope of doing so? The critical sensibility behind my for resistance can be mobilized.“ belonging to a heavyweight’s understood, while others are blind asked to see art in such-and-such was that it installed low-resolution You can portray him as BritArt’s The amnesiac closed circle has an servative Evening Standard art at either. They believe what absolute. to find a language that obliterates Collings has presented a vast ing on a scene dominated by artist knew. It doesn’t have to be paintings by Carpenter appear re- for art history, let alone for a criti- young British art but did introduce Collings and Morgan (his succes- a consumer of bration, it has all been rather less stunts in which a comically abject of this insult. definitely a good joke. Critique is twenty-five years ago, resembling And there is a more general ques- books interrogates authority, even (Neo-Avant garde and Culture armoury, whether it be Buchloh or, to them, but the show forgot to a way…” It is useful to look at local- fake alternative cultures in the Judas or defender.
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