Charles Thomson. Sir Nicholas Serota Makes an Acquisitions Decision, 2000.
Signature piece of the Stuckism art movement, for its opposition to conceptual art. It depicts Sir Nicholas Serota, Director of the Tate Gallery, and the usual chairman of the Turner Prize jury. “Emin” satirises Young British Artist Tracey Emin’s installation My Bed which she exhibited in 1999 as a Turner Prize nominee.
The bedsheets were stained with bodily secretions and the floor had items from the artist’s room (such as condoms, a pair of knickers with menstrual period stains, other detritus, and functional, everyday objects, including a pair of slippers). The bed was presented as it had been when Emin had not got up from it for several days due to suicidal depression brought on by relationship difficulties.
"My painting of Serota has become an icon of the Stuckist movement because it states our position in art," said Thompson. "We are for new figurative painting and anti stale, old conceptual art."
"can’t you make another painting?" - serota
omg i hate tracey emin and damien hirst. emin is all about being oversexed and sensational and hirst all about bling and prancing about as if he could defy death. they are such products of our time with a personality-hungry public feeding on their big fat egos.
Halfway through the day you look up and there they are again
Those aluminum verticals and their rhythm against the weak sky
How will you get through til lunch with the television telling you the same thing every twenty minutes
Things that stay real you say are all you really want now
And you think you would protect those things if you could find them
And carry them cupped in your hands gently
Like a shivering bird
One day after the passing of all our egos we might come home and become again like the movement of the leaves moving all together with one clear singing voice as the wind hits the trees but it will be a long time from now
Memories of mediterranean flowers in the streets of New York
Helicopters up there every morning
Above the water towers
There is not silence
Only when the light is golden enough to make the buildings read as landscape
Every morning some of the things you have loved will always be behind you
Then I think of wood and I think of my bones as wood
“I saw the best minds of my generation destroyed by madness, starving hysterical naked,
dragging themselves through the negro streets at dawn looking for an angry fix,
Angel-headed hipsters burning for the ancient heavenly connection
to the starry dynamo in the machinery of night,”—Allen Ginsburg, Howl
The Absolutely Naked Fragrance
John McCracken (American, 1934-2011)
1967. Plywood covered with fiberglass and resin, 10’ 1/4” x 20 3/8” x 3 1/4” (305.3 x 51.5 x 8.2 cm). D. and J. de Menil Fund
McCracken began producing his vibrant lacquered monochrome “planks” in 1966. While the polished resin surface recalls the aesthetic of 1960s southern California surfboard and Kustom Kar cultures, the title was drawn from advertising slogans in fashion magazines. The plank’s interaction with both the floor and wall is meant to call attention to the space occupied by both viewer and object. “I see the plank as existing between two worlds” McCracken says, “the floor representing the physical world of standing objects, trees, cars, buildings, human bodies, and everything, and the wall representing the world of the imagination, illusionistic painting space, human mental space, and all that.”
In McCracken’s work, color was also used as “material.” Bold solid colors with their highly polished finish reflect the unique California light or mirror the observer in a way that takes the work into another dimension. McCracken typically makes each resin or lacquer work by hand rather than using industrial fabrication.
From left to right: Plain (1993), Diamond (1993), Fulcrum (1990), and Center (1989) Installation view of the 1995 solo exhibition John McCracken at Hochscule für Angewandte Kunst, Vienna