The Upper Room (paintings)
The Upper Room is an installation of 13 paintings of rhesus macaque monkeys by English artist Chris Ofili in a specially-designed room. It was bought by the Tate gallery in 2005 from the Victoria Miro Gallery and was the cause of a media furore after a campaign initiated by the Stuckist art group as Ofili was on the board of Tate trustees at the time of the purchase. In 2006 the Charity Commission did not revoke it. A large walnut-panelled room designed by architect David Adjaye holds the paintings; the room is approached through a dimly-lit corridor, designed to give a sense of anticipation. There are thirteen paintings altogether, six along each of two long facing walls, a larger one at the shorter far end wall; each painting depicts a monkey based around a different colour theme. The twelve smaller paintings show a monkey from the side and they are based on a 1957 Andy Warhol drawing; the larger monkey is depicted from the front. Each painting is individually spotlit in the otherwise darkened room.
The room is designed to create an contemplative atmosphere. The paintings each rest on two round lumps of elephant dung and coated in resin. There is a lump of the dung on each painting. Speaking, each work is mixed media, comprising paint, glitter, mapping pins and elephant dung; the Upper Room as a whole is described by the Tate as an "installation". The Upper Room is a reference to the Biblical Last Supper of Jesus and his disciples, hence the thirteen paintings. Ofili states the work is not intended to be offensive, but rather to contrast the harmonious life of the monkeys with the travails of the human race; the work was first exhibited at the Victoria Miro Gallery in a solo show Freedom One Day in 2002, when it received favourable reviews from Adrian Searle, art critic of The Guardian, who wrote, "It is the bravest, one of the most original works I have seen by a painter for years... It would be a great pity to split The Upper Room apart; the Tate should buy it."Negotiations began between Victoria Miro and the Tate in 2002, but it was not until 2005 that the work was purchased.
In July 2005 this was publicly announced as part of the new BP-sponsored rehang of Tate Britain. Again reviews were favourable. In the same week as announcing the purchase, the Tate rejected a donation of 160 Stuckist paintings valued at £500,000 and was accused of "snubbing one of Britain’s foremost collections", the Walker Art Gallery, where the work had been in The Stuckists Punk Victorian show; this led Stuckist co-founder Charles Thomson to investigate the trustees who had ratified the decision and he found that Ofili was one of them. He applied to the Tate under the UK Freedom of Information Act 2000, the museum was forced to release previously-confidential trustee minutes relating to the purchase, as well as revealing that £100,000 had been donated by Tate Members towards it; the minutes showed that the Tate had begun negotiations with Ofili's dealer to purchase to The Upper Room when an unnamed American collector was going to enter into a joint purchase with the museum. When this fell through, Ofili's dealer Victoria Miro organised a consortium of five benefactors to donate half the purchase price, whilst buying their own Ofili work privately.
The Stuckists led a media campaign over the Tate's purchase of The Upper Room. On 14 August 2005 The Sunday Telegraph published an article by their arts correspondent, Chris Hastings, with the heading, "Chris Ofili said artists should give work to the Tate for nothing... so why has he accepted £100,000 for one of his dung pictures?" It expressed criticism of the Tate's purchase, because Ofili was a serving trustee, furthermore, the previous year had urged other artists to donate work to the Tate because of a shortage of funds to buy new acquisitions. There followed a series of articles in The Sunday Telegraph, as well as other newspapers, over the following few months, detailing more aspects of the purchase; the Tate had attempted to reduce the price, but Miro refused: she said she had lowered it from the price she wanted of £750,000 to £600,000. The Sunday Telegraph obtained an email sent by Miro to Serota in November 2002: There is extra pressure as Chris is getting married next week and I suspect he may be less willing than to wait for an extended period in terms of finance.
Evidently as Chris is a trustee, this is a sensitive situation, but if you could give me some indication as to which way to proceed, I will ensure that your decision is handled with discretion. Ideally I would still love the work to go to the Tate. Serota said Miro would have to find half the cost, she obtained £300,000 in donations towards the purchase from five anonymous private benefactors, several of whom were buying their own Ofili work; the revelation of this arrangement caused questions to be raised in the press as to whether the private benefactors knew privileged information, if they anticipated a profit through the increased value of Ofili's work after the Tate purchase. Richard Dorment, art critic of The Daily Telegraph, said The Upper Room was "one of the most important works of British art painted in the last 25 years," that the Tate had got "the bargain of the century," and "If you ask me, Miro and Ofili deserve medals for acting not in their own interests but for the public good."
The Times said, "Victoria Miro, Mr Ofili’s dealer, appears to have driven a hard bargain with the Tate, the job of a clever dealer." Charles Thomson, co-founder of the Stuckists, said, "Sir Nicholas Serota mentions
Trafalgar Square is a public square in the City of Westminster, Central London, built around the area known as Charing Cross. Its name commemorates the Battle of Trafalgar, a British naval victory in the Napoleonic Wars with France and Spain that took place on 21 October 1805 off the coast of Cape Trafalgar; the site of Trafalgar Square had been a significant landmark since the 13th century and contained the King's Mews. After George IV moved the mews to Buckingham Palace, the area was redeveloped by John Nash, but progress was slow after his death, the square did not open until 1844; the 169-foot Nelson's Column at its centre is guarded by four lion statues. A number of commemorative statues and sculptures occupy the square, but the Fourth Plinth, left empty since 1840, has been host to contemporary art since 1999; the square has been used for community gatherings and political demonstrations, including Bloody Sunday in 1887, the culmination of the first Aldermaston March, anti-war protests, campaigns against climate change.
A Christmas tree has been donated to the square by Norway since 1947 and is erected for twelve days before and after Christmas Day. The square is a centre of annual celebrations on New Year's Eve, it was well known for its feral pigeons until their removals in the early 21st century. The square is named after the Battle of Trafalgar, a British naval victory in the Napoleonic Wars with France and Spain that took place on 21 October 1805 off the coast of Cape Trafalgar, southwest Spain, although it was not named as such until 1835; the name "Trafalgar" is a Spanish word of Arabic origin, derived from either Taraf al-Ghar or Taraf al-Gharb. Trafalgar Square is owned by the Queen in Right of the Crown and managed by the Greater London Authority, while Westminster City Council owns the roads around the square, including the pedestrianised area of the North Terrace; the square contains a large central area with roadways on three sides and a terrace to the north, in front of the National Gallery. The roads around the square form part of the A4, a major road running west of the City of London.
The square was surrounded by a one-way traffic system, but works completed in 2003 reduced the width of the roads and closed the northern side to traffic. Nelson's Column is in the centre of the square, flanked by fountains designed by Sir Edwin Lutyens between 1937 and 1939 and guarded by four monumental bronze lions sculpted by Sir Edwin Landseer. At the top of the column is a statue of Horatio Nelson, who commanded the British Navy at the Battle of Trafalgar. Surrounding the square are the National Gallery on the north side and St Martin-in-the-Fields Church to the east. On the east is South Africa House, facing it across the square is Canada House. To the south west is The Mall, which leads towards Buckingham Palace via Admiralty Arch, while Whitehall is to the south and the Strand to the east. Charing Cross Road passes between the church. London Underground's Charing Cross station on the Northern and Bakerloo lines has an exit in the square; the lines had separate stations, of which the Bakerloo line one was called Trafalgar Square until they were linked and renamed in 1979 as part of the construction of the Jubilee line, rerouted to Westminster in 1999.
Other nearby tube stations are Embankment connecting the District, Circle and Bakerloo lines, Leicester Square on the Northern and Piccadilly lines. London bus routes 3, 6, 9, 11, 12, 13, 15, 23, 24, 29, 53, 87, 88, 91, 139, 159, 176, 453 pass through Trafalgar Square. A point in Trafalgar Square is regarded as the official centre of London in legislation and when measuring distances from the capital. Building work on the south side of the square in the late 1950s revealed deposits from the last interglacial. Among the findings were the remains of cave lion, straight-tusked elephant and hippopotamus; the site of Trafalgar Square has been a significant location since the 13th century. During Edward I's reign, the area was the site of the King's Mews, running north from the original Charing Cross, where the Strand from the City met Whitehall coming north from Westminster. From the reign of Richard II to that of Henry VII, the mews was at the western end of the Strand; the name "Royal Mews" comes from the practice of keeping hawks here for moulting.
After a fire in 1534, the mews were rebuilt as stables, remained here until George IV moved them to Buckingham Palace. After 1732, the King's Mews were divided into the Great Mews and the smaller Green Mews to the north by the Crown Stables, a large block, built to the designs of William Kent, its site is occupied by the National Gallery. In 1826 the Commissioners of H. M. Woods and Land Revenues instructed John Nash to draw up plans for clearing a large area south of Kent's stable block, as far east as St Martin's Lane, his plans left open the whole area of what became Trafalgar Square, except for a block in the centre, which he reserved for a new building for the Royal Academy. The plans included the demolition and redevelopment of buildings between St Martin's Lane and the Strand and the construction of a road across the churchyard of St Martin-in-the-Fields; the Charing Cross Act was passed in 1826 and clearance started soon after. Nash died; the square was to be named for William IV commemorating his ascent to the throne in 1830.
Around 1835, it was decided that the square would be named after the Battle of Trafalgar as suggested by architect George Ledwell Taylor, commemorating Nelson's victory over the Fre
The Evening Standard is a local, free daily newspaper, published Monday to Friday in tabloid format in London. It is owned by Russian businessman Alexander Lebedev, it is the dominant local/regional evening paper for London and the surrounding area, with coverage of national and international news and City of London finance. Its current editor is former UK Conservative Member of Parliament and Chancellor of the Exchequer, George Osborne. In October 2009, the paper ended a 180-year history of paid circulation and became a free newspaper, doubling its circulation as part of a change in its business plan; the newspaper was founded by barrister Stanley Lees Giffard on 21 May 1827, as the Standard. The early owner of the paper was Charles Baldwin. Under the ownership of James Johnstone, The Standard became a morning paper from 29 June 1857; the Evening Standard was published from 11 June 1859. The Standard gained eminence for its detailed foreign news, notably its reporting of events of the American Civil War, the Austro-Prussian War of 1866, the Franco-Prussian War of 1870, all contributing to a rise in circulation.
By the end of the 19th century, the evening edition eclipsed its morning counterpart. Both The Standard and the Evening Standard were acquired by C. Arthur Pearson in 1904. In May 1915, Edward Hulton purchased the Evening Standard from Davison Dalziel. Dalziel had purchased both papers in 1910, closed The Standard, the morning paper, in 1916. Hulton introduced the gossip column Londoner's Diary billed as "a column written by gentlemen for gentlemen". In 1923, Lord Beaverbrook, owner of the Daily Express, bought Hulton's newspapers, although he sold them shortly thereafter to the Daily Mail's owner Lord Rothermere, with the exception of the Standard, it became a staunchly Conservative paper, harshly attacking Labour in 1945 in a high-profile campaign that backfired. In the 1960s, the paper was upstaged by The Evening News. During the decade, the paper began to publish the comic strip Modesty Blaise, which bolstered its sales throughout the 1970s; the Evening Standard ceased publishing on Saturdays on 30 Nov 1974, when it still produced six editions daily.
In 1980, Express Newspapers merged the Standard with Associated Newspapers' Evening News in a Joint Operating Agreement. The new paper was known as the New Standard until 1985, when Associated Newspapers bought out the remaining stake, turning it into The Standard. In 1987 the Evening News was revived to compete with Robert Maxwell's London Daily News, but was reabsorbed into The Standard that year, after the collapse of Maxwell's paper. In 1988 the Evening Standard included the by-line "Incorporating the'Evening News'", which remained until the paper's sale in 2009. On 21 January 2009, the Russian businessman and former KGB agent Alexander Lebedev and his son Evgeny Lebedev, owners of The Independent, agreed to purchase control of the newspaper at £1 for 64 percent ownership. A few years earlier, 12 percent of the paper was sold to Geordie Greig. Associated News keeps the remaining 24 percent. In November 2009, it was announced that the London Evening Standard would drop its midday "News Extra" edition from 4 January 2010 with the first edition being the West End Final, available from 2 pm.
One edition of 600,000 copies would be printed starting at 12:30 pm, ending 3 am starts for journalists and the previous deadline of 9 am for the first edition. There were three editions each weekday, excluding Bank holidays; the first, "News Extra", went to print at 10:00 am and was available around 11 am in central London later in more outlying areas. A second edition, "West End Final", went to print at 3 pm, the "Late Night Final" went to print at 5 pm and was available in the central area from about 6 pm. There was considerable variation between the editions with the front-page lead and following few pages, including the Londoner's Diary, though features and reviews stayed the same. In January 2010, circulation was increased to 900,000. In May 2009, the newspaper launched a series of poster ads, each of which prominently featured the word "Sorry" in the paper's then-masthead font; these ads offered various apologies for past editorial approaches, such as "Sorry for losing touch". None of the posters mentioned the Evening Standard by name, although they featured the paper's Eros logo.
Ex-editor Veronica Wadley criticised the "Pravda-style" campaign saying it humiliated the paper's staff and insulted its readers. The campaign was designed by McCann Erickson. In May 2009 the paper relaunched as the London Evening Standard with a new layout and masthead, marking the occasion by giving away 650,000 free copies on the day, refreshed its sports coverage. After a long history of paid circulation, on 12 October 2009 the Standard became a free newspaper, with free circulation of 700,000, limited to central London. In February 2010, a paid-for circulation version became available in suburban areas of London for 20p; the newspaper won the Media Brand of the Year and the Grand Prix Gold awards at the Media Week awards in October 2010. The judges" quite simply... stunned the market. Not just for the act of going free, but because editorial quality has been maintained, circulation has trebled and advertisers have responded favourably. Here is a media brand restored to health." The Standard won the daily newspaper of the year award at the London Press Club Press Awards in May 2011.
The Evening Standard launched a mobile app with US app developer Handmark in May 2010. The range of apps was updated in 2015. In Mar
Stuckist demonstrations since 2000 have been a key part of the Stuckist art group's activities and have succeeded in giving them a high-profile both in Britain and abroad. Their primary agenda is the promotion of opposition to conceptual art, their demonstrations are associated with the Turner Prize at Tate Britain, but have been carried out at other venues, including Trafalgar Square and the Saatchi Gallery. There have been other protests in the United States by US Stuckists, there have been Stuckist events against the Iraq War in 2003, they have received extensive media coverage for these events both in the UK and internationally, become possible suspects for any London art protests, as in Matthew Collings' description of the opening of Tate Modern in 2000: "Guilt-free art lovers crossed picket lines put up by envious artist-outsiders. They didn't know, protesting out there. Maybe it was the Stuckists." There is, however, no mention of any such demonstration on the Stuckism website. Sir Nicholas Serota, director of the Tate gallery, has recognised the demonstrations as a contribution to artistic debate, the Tate archive contains material from the demonstrations, which are now a staple feature of the Turner Prize process.
The Stuckists were founded in 1999 by Charles Thomson and Billy Childish to promote figurative painting and oppose conceptual art. Thomson derived the name of the group from an insult by Tracey Emin to her ex-boyfriend Childish that he was "stuck"; the original group of 13 artists has now grown to an international movement of 183 groups in 44 countries, as of November 2008. The Stuckists have demonstrated annually at Tate Britain on the occasion of the Turner Prize since 2000, have been featured extensively in the media for their appearances; the demonstrations have adopted a variety of themes to make their point, that the prize is named after a famous painter, but painting is neglected by it in favour of other media. Their Turner Prize manifesto comments: "The only person who wouldn't be in danger of winning the Turner Prize is Turner." This is a leaflet they have handed out to the prize ceremony guests. Although they have always been outside the building during the actual prize ceremony, they have, on two occasions, been mentioned by the guest of honour on live TV, just before the announcement of the winner—by Sir Peter Blake in 2003 and by Culture Minister, David Lammy in 2005.
The first Stuckist demonstration took place outside Tate Britain on Turner Prize day, 28 November 2000. The group took care to work within the regulations in order to subvert them and ridicule the institution, they were dressed as clowns, had obtained advance permission to enter the museum in this costume. They announced on their web site: Please note this is not a demonstration in the normal meaning; this is the exercise of ones right to visit the gallery which one has paid for, in the attire of ones choice. We have a written statement from the Tate Gallery that the following is permissible dress for admission: suit and tie, jeans, T-shirt, sports clothing, barrister's wig and gown, Napoleonic military uniform, gorilla suit, clown costume, it should be noted that the following is NOT permissible wear: swimming costume, underwear. Damien Hirst's godmother, the late Margaret Walsh, announced the "Art Clown of the Year" for "outstanding idiocy in the visual arts" was Charles Saatchi, the prize being a custard pie, which the winner was expected to purchase and administer on themselves.
This award continued to be made in subsequent years. They paraded outside Tate Britain in clown costumes, walked into the museum and around the exhibition itself. To coincide with the Tate's show, they staged their own concurrent show The Real Turner Prize Show with simultaneous shows of the same name in Germany and Australia; the Guardian announced the winner of the real Turner Prize with the headline "Turner Winner Riles the Stuckists". There was a demonstration in ordinary clothes at the Prize press launch on 6 November; the Independent on Sunday said, "In certain respects the Turner Prize never changes: art fleetingly makes the front pages. The work of one nominee, Martin Creed, was an empty room, where the lights went on and off every five seconds; the demonstrators dressed in clown shone torches in protest. Ekow Eshun wrote, "if scandal equated directly to success this year's winners should be the Stuckists, the ragged band of artist malcontents who've turned their annual placard-waving anti-Turner protest outside the Tate into a kind of art event of their own that now generates press attention from around the world."The Stuckists gave their "Art Clown of the Year Award" to Sir Nicholas Serota.
Other nominees were Norman Rosenthal and Sarah Kent. There was a demonstration at the Turner Prize press launch on 29 October, one in clown costume on the prize day, 8 December; the "Art Clown of the Year Award" was given to Serota again, with the commendation, "The judges were impressed by Sir Nicholas's ability to create a Turner Prize show, worse than last year's", announced in The Daily Telegraph with the headline: "A custard pie for Serota as Turner Prize winner named." Meanwhile, the Stuckism International Gallery staged The Real Turner Prize Show 2002. In 2003, the Stuckists displayed two blow-up sex dolls to parody Jake and Dinos Chapman's bron
Secretary of State for Digital, Culture, Media and Sport
Her Majesty's Principal Secretary of State for Digital, Culture and Sport, or informally Culture Secretary, is a United Kingdom cabinet position with responsibility for the Department for Digital, Culture and Sport. The role was created in 1992 by John Major as Secretary of State for National Heritage; the first to fill the role, David Mellor, dubbed it "Minister of Fun". On 9 July 2018 Theresa May appointed Jeremy Wright to the post. In 2017 the DCMS was renamed to the Department for Digital, Culture and Sport in acknowledgement of the increasing responsibility the department had gained for Digital affairs. Karen Bradley continued as Secretary of State for the department. Shadow Secretary of State for Culture and Sport Digital, Culture and Sport Committee
Stuckism is an international art movement founded in 1999 by Billy Childish and Charles Thomson to promote figurative painting as opposed to conceptual art. By May 2017 the initial group of 13 British artists had expanded to 236 groups in 52 countries. Childish and Thomson have issued several manifestos; the first one was The Stuckists, consisting of 20 points starting with "Stuckism is a quest for authenticity". Remodernism, the other well-known manifesto of the movement, is a criticism of postmodernism. In another manifesto they define themselves as anti-anti-art, against anti-art and for art. After exhibiting in small galleries in Shoreditch, the Stuckists' first show in a major public museum was held in 2004 at the Walker Art Gallery, as part of the Liverpool Biennial; the group has demonstrated annually at Tate Britain against the Turner Prize since 2000, sometimes dressed in clown costumes. They have come out in opposition to the Charles Saatchi-patronised Young British Artists. Although painting is the dominant artistic form of Stuckism, artists using other media such as photography, sculpture and collage have joined, share the Stuckist opposition to conceptualism and "ego-art."
The name "Stuckism" was coined in January 1999 by Charles Thomson in response to a poem read to him several times by Billy Childish. In it, Childish recites that his former girlfriend, Tracey Emin had said he was "stuck! Stuck! Stuck!" with his art and music. That month, Thomson approached Childish with a view to co-founding an art group called Stuckism, which Childish agreed to, on the basis that Thomson would do the work for the group, as Childish had a full schedule. There were eleven other founding members: Philip Absolon, Frances Castle, Sheila Clark, Eamon Everall, Ella Guru, Wolf Howard, Bill Lewis, Sanchia Lewis, Joe Machine, Sexton Ming, Charles Williams; the membership has evolved since its founding through creative collaborations: the group was promoted as working in paint, but members have since worked in various other media, including poetry, performance, photography and music. In 1979, Childish, Bill Lewis and Ming were members of The Medway Poets performance group, to which Absolon and Sanchia Lewis had earlier contributed.
Peter Waite's Rochester Pottery staged a series of solo painting shows. In 1982, TVS broadcast a documentary on the poets; that year, Emin a fashion student, Childish started a relationship. Group members published dozens of works; the poetry group dispersed after two years, reconvening in 1987 to record The Medway Poets LP. Clark and Machine became involved over the following years. Thomson got to know Williams, a local art student and whose girlfriend was a friend of Emin. During the foundation of the group, Ming brought in his girlfriend, who in turn invited Castle. In August 1999, Childish and Thomson wrote The Stuckists manifesto which stress the value of painting as a medium, its use for communication, the expression of emotion and experience – as opposed to what Stuckists see as the superficial novelty and irony of conceptual art and postmodernism; the most contentious statement in the manifesto is: "Artists who don't paint aren't artists". The second and third manifestos, An Open Letter to Sir Nicholas Serota and Remodernism were sent to the director of the Tate, Nicholas Serota.
He sent a brief reply: "Thank you for your open letter dated 6 March. You will not be surprised to learn that I have no comment to make on your letter, or your manifesto'Remodernism'."In the Remodernism manifesto, the Stuckists declared that they aimed to replace postmodernism with remodernism, a period of renewed spiritual values in art and society. Other manifestos have included Handy Hints, Anti-anti-art, The Cappuccino writer and the Idiocy of Contemporary Writing, The Turner Prize, The Decreptitude of the Critic and Stuckist critique of Damien Hirst. In Anti-anti-art, the Stuckists outlined their opposition to what is known as "anti-art". Stuckists claim that conceptual art is justified by the work of Marcel Duchamp, but that Duchamp's work is "anti-art by intent and effect"; the Stuckists feel that "Duchamp's work was a protest against the stale, unthinking artistic establishment of his day", while "the great irony of postmodernism is that it is a direct equivalent of the conformist, unoriginal establishment that Duchamp attacked in the first place".
Manifestos have been written including the Students for Stuckism group. An "Underage Stuckists" group was founded in 2006 with a manifesto for teenagers written by two 16-year-olds, Liv Soul and Rebekah Maybury, on MySpace. In July 1999, the Stuckists were first mentioned in the media, in an article in The Evening Standard and soon gained other coverage, helped by press interest in Tracey Emin, nominated for the Turner Prize; the first Stuckist show was Stuck! Stuck! Stuck! in September 1999 in Joe Crompton's in Shoreditch Gallery 108, followed by The Resignation of Sir Nicholas Serota. In 2000 they staged The Real Turner Prize Show at the same time as the Tate Gallery's Turner Prize exhibition. A "Students for Stuckism" group was founded in 2000 by students from Camberwell College of Arts, who staged their own exhibition. S. P. Howarth was expelled from the painting degree course at Camberwell college for his paintings, had the first solo exhibit at the Stuckism International Gallery in 2002, named I Don't Want a Painting Degree if i
Go West (exhibition)
Go West is the title of the first exhibition by Stuckist artists in a commercial London West End gallery. It was staged in Spectrum London gallery in October 2006; the show attracted media interest for its location, for the use of a painting satirising Sir Nicholas Serota, Director of the Tate gallery, for two paintings of a stripper by Charles Thomson based on his former wife, artist Stella Vine. The Stuckists had been seen as art world outsiders, but with the backing of a West End gallery in a "major exhibition" became "major players" in the art world. Ten leading Stuckist artists were exhibited. Royden Prior, the director of Spectrum London, said, "These artists are good and are part of history. Get past the art politics and look at the work." Art critic Edward Lucie-Smith wrote in an essay for the show: Rachel Campbell-Johnston, art critic of The Times, condemned the work as "empty of anything much" and "formulaic". Thomson's and Joe Machine's paintings sold out, before the show opened, to buyers from the UK, Japan and the US.
Exhibition dates: October 6 – November 4, 2006. It was suggested that the exhibition of Thomson's painting, Sir Nicholas Serota Makes an Acquisitions Decision, satirising Sir Nicholas Serota, displayed in the gallery window, could be seen as revenge for the Tate's rejection of a Stuckist donation of 175 paintings the previous year. Thomson was accused of revenge for exhibiting two paintings of strippers, which he said were based on his ex-wife and one-time stripper, Stella Vine, she was a member of the Stuckists group at the time of their marriage in 2001, but has since attracted solo attention. Rivalry increased when her work was promoted by Charles Saatchi in 2004. Thomson denied any intention of vengeance with the paintings and said that "I would prefer her to enjoy these, as I still enjoy her art". Michael Dickinson, a Stuckist from Istanbul, was a guest artist at the show with a folder of collages, he had been released from ten days in a Turkish jail without charge after exhibiting Good Boy, a collage of the Turkish prime minister, Tayyip Erdoğan as a dog.
Charles Thomson Joe Machine Paul Harvey Ella Guru Peter McArdle Philip Absolon Bill Lewis Wolf Howard Eamon Everall Elsa DaxGuest artist Michael Dickinson Stuckism Stuckist demonstrations The Stuckists Punk Victorian Sir Nicholas Serota Makes an Acquisitions Decision Go West on Spectrum London official site Stripper and Strip Club paintings by Charles Thomson Stuckism official site "Britart critics get West End show", the New Zealand Herald "Is being naive the result of naivete" artshub.co.uk Slide show of work on telegraph.co.uk