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Art and design<br />

Opinion<br />

<strong>The</strong> <strong>Guardian</strong> view on Brexit and the arts: a<br />

backlash against the modern<br />

Editorial<br />

<strong>The</strong> right wants to believe that contemporary art is a liberal-elite conspiracy. Five million visitors to<br />

Tate Modern will tell you different<br />

A man photographing Mr Allied by Helen Marten, winner of the <strong>2016</strong> Turner prize, who is as<br />

successful commercially as she is critically. Photograph: Uwe Zucchi/EPA<br />

Wednesday 28 December <strong>2016</strong> 18.35 GMT Last modified on Wednesday 28 December <strong>2016</strong><br />

22.00 GMT<br />

Having a pop at the absurdities of contemporary art has long been a sport beloved of elements of the<br />

press, and it has often been enjoyably and wittily played. <strong>The</strong> Sun, for example, had great fun in 2001,<br />

when Martin Creed won the Turner prize, inviting readers to suggest their own ideas to add to Mr<br />

Creed’s scrunched-up paper, Blu-Tack, and lights switching on and off. <strong>The</strong> British love to puncture<br />

anything with a whiff of pretension. Not taking oneself too seriously is regarded as a precious<br />

national virtue.<br />

Yet the tone of rightwing attacks on contemporary art has sharpened this year in the wake of the Brexit<br />

vote, as the critic JJ Charlesworth pointed out in ArtReview magazine. Michael Gove tweeted on the<br />

night of the Turner prize that the works were mere “modish crap” celebrating “ugliness, nihilism and<br />

narcissism – the tragic emptiness of now”. He later complained that the “last thing you should try to<br />

do if you want to win the Turner is apply oil to a canvas in a manner which is any way<br />

representational of man or nature”. He must have missed recent Turner shortlists that have featured<br />

figurative work by painters including Lynette Yiadom-Boakye and George Shaw, as well as Paul<br />

Noble, who makes exquisitely detailed drawings.<br />

<strong>The</strong> accusation lurking in the wings is that contemporary art is a complicated con visited on the public<br />

by a fanatical set of EU-loving, liberal-elite curators headed by Sir Nicholas Serota, who have set<br />

about suppressing floral paintings (former Turner nominee, and sometime flower painter Gillian

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