I should say that I’m obviously fond of contemporary art, and that it’s not supposed to be a public service – but that the more interesting works of the past few decades are always the ones that are outward facing (did I already mention Jeremy Deller?) and the ones that are least interesting recycle previously used tropes from the fine art world.

Sadly, the one point that I have to bring you up on is the unpopularity of art within the UK. Back in 2004, when the Momart fire happened, press reaction was pretty much “yeah, so?” to the destruction of what are either overpriced art baubles or timeless classics (or, rarely, both at the same time).

The success of the Tate or art festivals doesn’t indicate that art is popular, it merely indicates that if you build a tourist attraction, tourists will come. There’s very little interaction or consideration of the forms or ideas behind the art pieces displayed; in fact, at peak times at the Tate, or during Frieze Art Fair, I doubt it’s possible to do more than move through a crowded room which just happens to have some art in it.

This passive consumerisation is something that Phillips’ work moves against – by even knowing of the existence of Screaming Hand, you’ve entered into a contract that makes you “against” the hegemony of the standard order. Skateboarding is not a crime.

Ok, but, I know that isn’t enough… those thousands could all have been within the “subculture of art appreciation” (or hovering, moth like, at the brink of the alluring, illuminated candle of obscure, even incomprehensible, art)…

But… first of all, art is NOT a public service… it does not have to appeal to the majority, be entirely accesible/ attractive/ comprehensible….even interesting… if that was the purpose of Art all Artists would basically be illustrators (or Jack Vetrianos, nailed comfortably and kitschly to your living room walls)… Art exists at the liminal edges, it is outside of the every day and, therefore, can reflect/comment/open up new perspectives upon it, or even new worlds entirely (“Any authentic work of Art must start an argument between the Artist and His Audience” Dame Rebecca west)… That’s not to say it’s correct to have an Art which is insular, elitist and self-referential… But ( I believe) it is important to have art which is uncomfortable and always pushing the envelope (just look back to how the Impressionists/ minimalists were recieved by the public at the time etc)…

To say that Contemporary art is “ignorant of visual culture outside of it’s own milieu” is well, pretty insulting, but also, simultaneously, fairly understandable… I wouldn’t say that the contemporary Art as represented by Art Review or Flash Art Magazines (or the latest Saatchi show) is “styleless”, it has it’s own style (something for another conversation entirely) which can be highly supercillious and insincere at times but, shouldn’t be rejected on the basis of it not being as immediately understandable or appealing as Phillips’ Screaming Hand… and if you’d like examples of artists who absolutely DO expose the public to the existence of ‘other’ (i.e. underground/ alternative/ skater/ ethnic cultures) just look at the following ‘contemporary artists’… Ant Macari, Takashi Murakami, Chris Ofili, Adriana Varejao, Chatchai Puipia, Jonathan Meese…..etc….

Art isn’t about taste. Can anyone honestly assess the quality of a song, painting or sculpture by how popular it is?…. that may work for the record charts… but not for good, honest, innovative music….or art….

….i could go on… but it’s probably bed time now….