In these difficult times

Anish Kapoor, Shooting into the corner

I am walking into the British Council reception for Anish Kapoor, recently returned from his triumphant openings in India.  In order to get to the front door I have to pass under banners with the familiar British council logo waving happily alongside those for jaguar cars.  `I ask Julia Peyton Jones, director of the Serpentine Gallery if she thinks the cars belong to Anish and she says in her most dulcet tones, ‘in these difficult times’,   I repeat this to curator Hans Ulrich Obrist who is walking in beside her.  We decide that it could be the subject of every email being sent out from every arts organization worldwide at the moment. 

Anish Kapoor, To reflect an intimate part of red

Delicious martinis aside, the reception to honor Anish Kapoor, an English treasure went according to plan with speeches by William Hague, talking about the strengthening of relationships between countries through culture,  which would lead to stronger trade as well.  It was only when the marketing director of Jaguar got up to speak that true eye rolling was seen in the small audience.  Is it really appropriate to toll the virtues of a new car in the midst of a group of dignitaries that includes among others the head of the foreign office and foreign secretary.  I would love to see Anish in the context of India, however so I hold my peace. 

George Stubbs, Mare and Foals in a River Landscape

I remember this moment when I hear that there has been a new post created for Judith Nesbit, a Tate Curator.  In future she will be in charge of forging new partnerships, a buzz phrase you frequently hear today alongside the sharing of skill sets.  Usually this means sending people to foreign climes to install shows of European work while frolicking by the pool. 

Sir John Everett Millais, Dew-Drenched Furze

I have nothing against sharing culture with countries too poor to be able to have expensive museums- bravo to the Victoria and Albert and their Blackpool incentive -  but it seems to be that in this day and age it is our national treasures going to countries rich enough to have their own treasures and in a sense we are often imposing our national taste. Do the following works Thomas Gainsborough Sunset: Carthorses Drinking at a Stream circa 1760, George Stubbs Mares and Foals in a River Landscape 1763-8, John Constable The Grove, Hampstead 1821, Joseph Mallord William Turner The Golden Bough 1834 and Sir John Everett Millais Dew-Drenched Furze 1889-90 really sit well in Oman for instance. Tate Britain has lent  them as part of the beginning of a long term relationship.  Let’s clarify what this relationship is and then make some decisions based on whether the country thinks it is a good idea.  These works belong to us  after all.