......."if it truly wished to modernise, the Academy should consider the radical step of including half the number of exhibits: the Salon-style, pile-them-high, pack-them-tight approach just isn't suited to our era of ever-decreasing attention spans."
Note Richard Dorment is retiring from his job as art critic for the Torygraph and he looks back in amazement at his time there. he says this; " As for me personally I don’t by any means think I got all of it right. But I have many more regrets about the artists I failed to appreciate – Peter Doig is a good example – than the ones I now think didn’t deserve as much attention as I gave them, including quite a few of the Young British Artists who came to prominence in the Nineties."
Well there you go - he was sometimes quite wrong, as this blog has said many times! He shouldn't have listened to all that gallery guff he was handed and he now regrets the YBA's and all the attention that he gave to them. He will be missed though, but sadly for all the wrong reasons.
There is a Phillip Guston exhibition on at Timothy Taylor and Adrain Searle writes the fluff for it in the Gruniad. This does not make any literal sense:
" The world itself is dumb enough. Guston was a painter of brute matter and even more squalid inclinations. He is a great corrective to so much fancy and flimsy tinkering in contemporary painting. He makes an artist like Anselm Kiefer look effete and mannered.
Guston didn’t dumb things down; he dumbed them up. You can’t escape how painted his world is, how nuanced and tragic and funny. Head and Bottle has a dreadful stillness."
How on earth can you dumb something up? This is trite tripe about a cartoonist who used paint very, very, badly - no more, no less.