Categories
Gay Queer Whitstable

Margate

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Another morning at the hospital.  Another biopsy on another lump. I’m quite sweaty today.  My arms hurt.  The arthritis in my neck makes my arms painful, numb and tingling.  The pain increases when I cough, sneeze or strain.

After the consultant I drove to Margate where I met Jonathan Viner who has famously bought the huge Margate Print Works, partially selling to Tracey Emin and others.  We ate a light lunch at David Liddicot‘s cafe on Union Row.  Jonathan rather sweetly paid for lunch, (£20).  Of course we discussed both projects.  He is unsurprisingly proprietorial about Margate.  Viner, I suppose, rediscovered it and put his money where his mouth is.

He very kindly walked me around the last remaining part of the huge building still unsold.  The cavernous concrete space ripe for something magnificent.  We discussed Brexit, we discussed moving to Kent, we chatted briefly about Jay.  He is obviously quite competitive but not in an overwhelming, American way.  I told Jonathan I’d met the ghastly Margate based architect Sam Causer who has all the charm of untreated sewage.

We discussed terrible Margate landlords who want too much for their properties and he was eager to remind me I didn’t own anything in Margate… yet.  I replied gently that if my idea fell through it wouldn’t be the end of the world.  I learned from buying at auction… there’s always something else, next time.  It’s not healthy to obsess about things.  It can get you into trouble.  God has a plan.  I just have to listen out for it.

I’ve been going to London meetings.  NA meetings.  It baffles me how people stay clean.  But of course… they don’t.  The real addicts die.  NA, divorced from Bill’s radical idea of a spiritual solution, is utterly worthless.  I am irritated by NA in the UK, the group therapy, feelings laid bare.  I was sharing step solution in a Chelsea meeting last week and a young woman in the meeting told me I shouldn’t talk about the steps because she found it ‘triggering’.

Meanwhile Chip, my friend in NYC, who worked a solid NA programme overdoses and dies.  He was a splendid, handsome father of one.  Divorced from God there was no other destiny for him.  Jail.  Institutions.  Death.

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The Whitstable Biennial opened this week.  Consequently there is ‘art’ everywhere: in beech huts, coffee shops, fishmongers, gardens, St Alphage church on the high street.  The art is pretty dull but the buzz around town is great.  I found two gorgeous bronze figures tucked away in a shed by sculptor Mark Fuller who is without doubt a bloody genius.  £80.

If my arms work I may go to Canterbury Pride this evening.

Ivan Cartwright visited me last weekend.  We had lunch at Dave Brown’s then drove to Margate.  He had never been.  He was very impressed.  Lunch with M&J at well reviewed Angela’s in Margate on Wednesday.  I ate Turbot and some odd tasting greens.

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Met in Soho last week with a gentleman who wants to buy my art collection, then a brief but good catch up with my producer.  I bumped into Johnny and Julian outside Maison Bertaux.  We drank a little coffee and I scoffed a large Mont Blanc, you know the one… with mashed up marrons glacés, meringue and cream.

I travelled from Whitstable to London on the train.  It was exactly the same time to get up there as it was 40 years ago.  It’s perfectly fine.  The bus from Victoria to Piccadilly Circus was wonderful. Swinging past the Wellington Arch, on the upper deck, very little traffic.  The trees around Green Park and Park Lane have matured beautifully.  Apsley house now looks like it’s sitting in the countryside rather than a concrete island.  I fell in love with London all over again.  Who wouldn’t?

After lunch I took the Piccadilly line to Gloucester Place and had tea with Christophe. He looks wonderfully relaxed after his hip operation.  Pain shows in the face, you know.  Without the pain he looks marvellous.  “Everybody says the same,” he smiled.

There was a coach from Faversham to Whitstable after 11pm but so what?  A drunk man on the bus was recounting his recent arrest for knocking someone out.  I had no problem with the railway.  I had no problem with the buses and the tube.  I’ve had no problems with the NHS.  I just wish the pins and needles would stop.

Categories
Queer

Fuck You Tracey Emin

Tracey Emin

Tracy Emin‘s ‘My Bed‘, part of the spurned Charles Saatchi collection, sells at auction to Jay Jopling at the White Cube Gallery for $4 million.

Jay originally sold it to Charles Saatchi for $300,000.  Why did Jay Jopling want it back so badly?  Sentimental?

No.  Buying and selling art at auction determines international prices for all gilt-edged (and emerging) artists.

The art market remains totally unregulated.  An audacious art market ploy,  it is an open secret that gallerists operate a cabal that controls bidding at auction, maintaining an artists credibility and in this case artificially inflating Tracey Emin’s waning prices.

This con is not illegal.

Transforming art of questionable value into work of capital value that can be tendered with the Inland Revenue.  Money laundering in plain sight until the ‘art work’ has an ersatz value all of its own… independent even of its secondary market value, it can then be offered to the State as an asset by its owner, in place of whatever they owe in taxes.  The Lucian Freud estate recently traded 15 million gbp worth of Art in lieu of death duties.

A foot note: Tracy hid in her bed for three days presumably on housing and other benefits. Benefits she received for 30 years. Benefits she, as a Tory, wants to deprive others.

Wanna read about the bed….

A consummate storyteller, Tracey Emin engages the viewer with her candid exploration of universal emotions. Well-known for her confessional art, Tracey Emin reveals intimate details from her life to engage the viewer with her expressions of universal emotions. Her ability to integrate her work and personal life enables Emin to establish an intimacy with the viewer.

Tracey shows us her own bed, in all its embarrassing glory. Empty booze bottles, fag butts, stained sheets, worn panties: the bloody aftermath of a nervous breakdown. By presenting her bed as art, Tracey Emin shares her most personal space, revealing she is as insecure and imperfect as the rest of the world.

Categories
Gay Rant

What Kind of Gay Am I?

Excuse me for rambling.  This may have something to do with the painkillers.  I don’t usually take pills but a mashed ankle and a severely strained leg…I gave in to the ibuprofen.

The news looks bad.  More unemployment misery, few jobs, double dip, creationism, President takes a vacation, stock market tanks, texting in church…etc.   That’s the news.

Some people are telling me that the only way the USA is going to save itself is when the American people accept third world wages.  The plan: the people will become so desperate they will work any job at any wage anywhere and the corporations will abandon India and China and return to America.

If this is true…and I suspect that it is, we are in for a long and desperate time.

There were journalists in helicopters filming black people lining up for a ‘Jobs Fair’ in Atlanta.  Well presented, educated black people.  The usual people who suffer when the economy slows.  Apparently some employers don’t want to interview the unemployed.  I have no idea why.  Can someone tell me?

The images from the helicopter reminded me of the Hurricane Katrina footage.   Desperate black people.  Waiting in badly organized lines.

“I’m a single mother and I am looking for a job.”

I’m not writing what’s been bugging me..apart from my aching foot.

I want to write about being gay, being a gay film maker/artist.   I have not written enough about my recent brush with the ‘gay community’.  I have been having the same multiple contractions of apprehension that I had years ago.

The same anxiety.  The same question plagues me…even after years of therapy and insight.

What kind of gay am I?

Is this the same question as what kind of man am I?  Is this a question I need answering?  I just don’t know who my tribe is.  The community that has sprung up around me on WordPress is as good as it gets.  I like that you write to me.  Some of you disapprove but you can’t get everybody to love you all the time.

Those of you who wanted the coyote to rip my throat out…well, it didn’t.

I called my friend Zach and I said, what kind of gay are you?  By the time he replied I had lost interest.

I don’t want to know what sort of gay he is.  I want to know who I am.

I tried to make gay films for a gay male audience…specifically, unapologetically.   We need to see ourselves as we really are.  We need to champion the language and locations of our lives as well as be critical of our bad choices, challenge our culture…reveal it, understand our politics..the differences as well as the similarities.

I loved making gay films, I loved travelling the world…meeting you in cinemas on every continent, in every major city.  I like meeting you, eating with you, sleeping with you.

You were very accommodating!

Recently, I have been tempted by the mass market.

I had a meeting with a well-known, important producer about my Surrogacy film.  Even though he was moved by the story he said that the story would be much improved if I could somehow incorporate a straight man’s perspective.  He thought a latino character would complicate the story.

He was part of the problem…not the solution.

His ‘take’ was woefully un-evolved.   Shame based.

At first I was irritated then it nagged at me: the suggestion that a regular audience could only identify with us if we sympathised with them.

I have sympathised with straight characters in movies all my life.  I have gone out of my way to understand their lives and loves.  I have walked in their shoes.

We all do.

I don’t think my producer friend is very interested in me.  He wasn’t interested in the film or the rare books he came to see.  I think he was interested in the twins.  Why shouldn’t he be?  It amuses me that he would have made so much effort to accommodate me when all he had to do was take Robby’s number.

Of course he has more to offer Robby than I ever could.  Robby would be a fool not to capitalize on that friendship.

I felt the same way when ever Jay Jopling visited me.  He would take what ever he felt he wanted..or was valuable from me.  He took a beaver lined Edwardian driving coat, he took books by Aubrey Beardsley and Djuna Barnes and Dorothy Parker.

He wasn’t the only one.

Korda Marshall borrowed and broke the rare and valuable  Venini vase that The Duchess of Argyll had given me.   Now he is rich I wrote to him asking him to replace it.  He did not reply to my email.

Robby is very special, he has a quality that may not get him modeling jobs but…and I rarely say this, may make him a star.

I felt that about Tom Hardy.  He used to be such a brat.  I had a very ‘loud chat’ with Tom in Soho House, London years ago about his excessive drinking.  He heeded my advice and gave up.  Then, a year or so later, he thanked me for telling him the truth.  A truth few dared to tell him.

In actuality I just repeated what Anthony Hopkins told me Lawrence Olivier had said to him about his drinking when he was a young actor at The National Theatre.

It seemed to work.

Pink (Alecia Moore) told me that the hardest thing she ever had to do was ditch her band.  The label wanted her and not the band.  They were her best friends.  She had to tell them as if it were own choice.

We all abandon those who helped us at the beginning.  We have to make hard decisions in life if we are going to get on.  Leaving our best friends behind so that we might succeed.  It is the secret story behind every Hollywood success.  Those that got left behind.

Lastly, from one of my personal heroes British gay activist Peter Tatchell:

“The UK establishment is quick to condemn rioters.  Yet, the police took bribes & failed to investigate phone hacking. No officers jailed. Cash for knighthoods & peerages. No one jailed. MPs abused expenses system. Only a few jailed. Editors bribed police. None jailed. Priests raped kids. No jail for most. Army killed & tortured civilians in Iraq. Soldiers not jailed. British elite = hypocrites. No right to moralize.”

Categories
Auto Biography Gay

Whitstable 1991

OK, so here are a few interesting clips from 1991.

Starring the various boys and friends who ended up in Whitstable at my house on Island Wall.  Notably Jay Jopling, Nick Love and Damien Hirst.

There’s quite a bit of nudity and cock…so beware.

Bournemouth Film School…the house I shared with Lawrence and Charlie.

There’s some great stuff from Green Street, Orlando’s club in London.

Damien Hirst, Maia Norman, Orlando Campbell etc.

There’s the traveling, Sydney, Forbes NSW to stay with the Wilsons.  And…more boys.

Kevin at City Gym in Sydney. The beautiful Dane I met in Florence and spent the summer. Whatever happened to him?  I wanted to weep when I saw him again.  He was beautiful.

The local Whitstable boys.  Luke, beautiful Luke.

If any of them ever loved me I was blissfully unaware.

And…there’s a lot of…hair.  During most of this…I am drunk or fucked up, remember that.  I wouldn’t get sober for another 6 years.

There’s a lot of dancing and dressing up.  I seem to be lip synching to Judy…missing some man.  Again.

What a destructive theme.

Categories
art Gay

Cannes

I thought that you might enjoy this picture as much as I enjoyed creating it.  Inspired by Hasidic Jews in Brooklyn.  My Hasidic Easter Bonnet.

Spent yesterday planning my trip to Cannes.   Of course, I love Cannes when everyone is there for the film festival.  I am deliberately revisiting all the places that we visited together so that I can expunge him from the memory of the locale.

As NYC becomes less emblematic of those painful days with him and more joyful as I remake this city with the other.  The streets are no longer associated with those miserable days of fruitless longing.

The sunshine is mine and mine alone.  I love the streets!

Could you imagine anything more ghastly than sitting in an office day after day for thirty years with minimal vacation?   Looking forward to retirement?   Eww.

My therapist and I are planning my escape.  An escape that will include the possibility of a return to what I used to enjoy:  peace of mind.

On Saturday morning I saw a young mother drop her baby on its face.   The baby was fine.  Mainly made of gristle they are more resilient than they look.  Sturdy little things.  The young mother, more from embarrassment, screamed out “My baby!”   The restaurant hushed, her other child started crying, her own mother with whom she was having breakfast, sat immobilized by fear.  There was, however, something about her scream that reminded me about the moment the Big Dog was hit by the truck.

The trauma associated with that ghastly moment lives with me, shapes my thinking and holds me hostage to the notion that I must never be hurt like that again.

When we were interviewing old people last month we met an old man who told us that he couldn’t own pets any longer because he fears the depth of emotional pain that comes with a beloved pets death.

I know what he means.  The pain felt around the death of anything you love, the loss of anything one cares about (as one gets older) is without parallel.

In many ways I am more numb now than I have ever been.  Less able to feel for fear of being badly hurt.  How could I have got this far without…and then I thought back.  I remembered the excruciating pain of being dropped again and again as a small baby/infant/child.   Suck it up Duncan.

Sunday.  Birthday party with friends.  I ate too much cake.  I was wearing a lilac cashmere sweater that garnered some reaction.  “That’s risky.” A rather bland looking woman commentated.  I smiled and thanked her as if she had just complimented me.

The baby was fine.   A little redness on the forehead but after a few moments of crying he/she was smiling and gurgling.

Incidentally, after all my Jay Jopling bashing for not being political there is a show at Mason’s Yard called NEW ORDER that looks very promising.  This work looks very impressive though a little austere.  Where is Max Beckmann when you need him?

I am desperate to see this.  I hope it is as subversive as it looks.

I have included the gallery’s incredibly verbose description below.  Who writes this shit?  Look at the way they over use/mis-use the word polemical.

Masons Yard 8 Apr—14 May 2011

‘The dream of a suitable political work of art is in fact the dream of disrupting the relationship between the visible, the sayable, and the thinkable without having to use the terms of a message as a vehicle.’
Jacques Rancière, ‘The Aesthetics of Politics’ (2006)

The relationship between aesthetics and politics has been a polemical issue for much of the history of art. In particular, the late twentieth century saw an overt politicisation of critical discourse amidst collapsing colonial hegemonies, global wars and the emergence of civil rights movements across the world. This was coupled with artists questioning the principles of modernism opening up the debate as to what constituted a work of art. A number of key figures emerged on the international art scene, whose practice specifically dealt with issues of power structures, race, injustice, gender and dissent. The works featured in ‘New Order‘ share a focus on the transformation of social or ideological structures that shape experience, and in different ways they explore existing communal, political and physical constructs of the everyday.

The formal geometry and commonplace materials of Miroslaw Balka‘s ‘Kategorie’ (2005) lend the work a pared-down aesthetic generally connected with Minimalist and Conceptual art. A six-metre long, two-metre high tunnel is interrupted by five fine coloured threads, suspended from rotating motors on the ceiling. The work is rich in associative historical and political references, such as the traumatic memory of wartime atrocities in his native Poland which Balka has addressed throughout his practice. The colours of the strands – red, violet, green, pink and black – are the colours assigned to uniforms identifying different categories of prisoner in the concentration camps (red for political prisoners; violet for Jehovah’s Witnesses; green for criminals; pink for homosexual and bisexual men; and black for Romany people, alcoholics and individuals with learning disabilities, among others).

Part of Doris Salcedo‘s ongoing series in which found domestic furniture is used as a vehicle to explore the traumatic political history of her native Colombia, ‘Untitled’ (2008) features tables and wardrobes, conjoined and partially entombed in concrete. The re-assembled components of the hybrid form of the sculpture, each through use embedded with a material history, function as silent witnesses to implied personal and collective narratives.

Rooted in black urban experience, David Hammons‘ practice comments on the iniquities present within social, political and economic systems. Critiquing the relationship between high art and the street, his sculptures often feature found objects laden with cultural association. Hair clippings swept from the floor of a Harlem barbershop are fashioned into a cornrow hairstyle upon a smooth oval rock in ‘Rock Head’ (2000), while in ‘Which Mike Would You Like to Be Like?’ (2001), Hammons takes three vintage microphones that serve as surrogates for three prominent figures in recent popular culture – Michael Jackson, Mike Tyson and Michael Jordan – referencing the limited range of role models for young African-American men.

The densely-layered, collaged paintings of Mark Bradford also incorporate materials salvaged from an urban setting, including torn bill posters or newsprint. The abstract compositions reference alternative cartographies that burgeon within cities, such as the spread of an economic underclass, the movement of immigrant communities and race relations. In ‘Strange Fruit’ (2011), fragments of text drawn from the local ‘merchant posters’ Bradford frequently uses echo across the painting, while the title is taken from the protest song about the lynching of African-Americans in the 1930s, sung by Billie Holiday.

In Julie Mehretu’s ‘Mumbo Jumbo’ (2008), a swirling vortex of shapes and marks on a grey ground, overlaid with architectural passages, give the sense of a gathering storm. Made on the occasion of the inaugural New Orleans Biennial in 2008, the painting conveys the destructive power of uncontrollable nature within a stricken cityscape, mired in bureaucratic chaos.

In 1969, Anselm Kiefer photographed himself in a variety of imposing locations (often in settings evocative of German Romantic imagery) making the Nazi salute. The resulting series, entitled ‘Besetzungen’ (‘Occupations’), provocatively confronted the blanking out of history and questioned the collective guilt of an entire post-war generation in Germany. In the works presented in the current exhibition, ‘Heroische Sinnbilder’ (2011), Kiefer revisits the iconography of his own art history, as a means of investigating the resonance of totalitarian symbols across the passage of time.

Categories
art

Armory 2011

Even though, as I was recently told, I have no right to be writing about art…I brazenly decided, against my better judgment, that I should risk making a fool of myself by attending the Armory Show.

God forbid if I write something dumb.  I decided that I would NOT have opinions.  How would that feel?  But, try as I might… within seconds of arriving at the 2011 Armory show… I was overwhelmed with… opinions.  Many, many opinions. Sickeningly, I just could not stop.  Opinions… swarmed… like bees.  Involuntary… like hiccups, like dry heaving, like angina.  In many cases the opinions were as painful as having a heart attack.  Worst of all… I had no idea if my opinions were worth having or not.

I was invited by Adam Gross…thanks for asking Lorcan.  “Who invited you?”  He sneered imperiously.  “What are you doing here?”  I stopped by at 12 midday with my friend Aaron so I could enjoy a leisurely meander around the 200 or so stands on Pier 94 devoted to NEW WORK BY LIVING ARTISTS….rather than fight through a raucous crowd at 5pm like everyone else.  All the usual suspects in attendance.

Remember when Jay first came here?  That little room at the Gramercy Park Hotel?  Those were exciting days.  The White Cube gallery is now an ‘institution’ and looked just like that: a dreary, so what space showing all the usual stuff in all the usual ways. White Cube has lost its edge. In the words of Jay’s greatest victim Miss Tracy Emin it is ‘stuck, stuck, stuck’.

Living artists?

Also stuck: Max Wigram (looks terribly OLD) and Lorcan O’Neill (attractive) who still pedal that same old YBA shit. Lorcan tried to up his game with a mediocre Richard Long mud work but it was too little too late.

Victoria Miro, also an ‘institution’ but less arrogant, more in touch.

There sure were slim pickings this year.  There were a few exceptional stands that inspired and a few artists who caught our attention.  Here are some of them:

My favorite piece and stand were audaciously combined by Paul Kasmin.  Ivan Navarro’s site specific Armory Fence delineated Kasmin’s pitch and excluded even the gallery assistants who sat at the edge taking comments and cards.  It was genius.

Ivan Navarro at Paul Kasmin

Felt a little sorry for the surrounding booths as there was no escaping the nuclear fallout from Navarro’s huge neon piece.

I loved Sean Kelly’s delicious space and choices. I asked him if he had offered Billy Childish a show. “Not to my knowledge.” He said.

Richard Heller showing Devin Troy Strother…not usually worth mentioning but there is something charming about Devin’s new work.

At Josh Lilly I fell in love with the work of Analin Saban who works in LA and shares a studio with John Baldessari. It sold moments before I could pull out my cheque book.

Analin Saban @ Josh Lilley

At Leo Koenig I was drawn to and offered to buy a small and very beautiful work by Nicole Eisenman. Again I was beaten at the pass by an ‘important’ collector. It was the only piece that they had sold. At 6.5k this was a bargain. Studio visit planned for next week. I dragged Stavros Niarchos into the gallery to admire this most painterly of painters.  Leo started in on Vito Schnabel, boasting that it was opening his gallery that inspired Vito to become a gallerist. Really?

Bumped into my friends from the Donald Judd Foundation who invited me this week on a hard hat tour of the space on Spring St that is currently being extensively renovated.

I noticed Jay Jopling all over a Belinde De Bruyckere work at Galleria Continua. Here it is:

Berlinde De Bruyckere

There was another work of hers at Sean Kelly’s:

Berlinde De Bruyckere

Frankly the boys were prettier than the art… and cheaper.  One GORGEOUS Swiss boy working his father’s gallery.

Lunch with Aaron at Soho House.   Steam room.  Saw Joan.  Missed Dan.  Dinner and a cuddle with SH.

On the way home from the Armory we stopped off at David Zwirner’s gallery on 19th street.

Marcel Dzama’s Behind Every Curtain. Delightful:

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Categories
art

Billy Childish

Billy Childish 2/1/2011

I spent the morning writing lists.

Decided NOT to go to Florence as I couldn’t make the bloody SNCF website take my frigging credit card.  So, I booked into Dean Street Town House and decided to spend some days in London instead.  After all..London is by far a more exciting city than Florence.

By Midday I had made all manner of plans with various friends.  Toby Mott, Tim and others.

Whilst in town have resolved to throw myself into AA meetings, which I have been loathed to do since I arrived.

The day could have ended there but, on a whim, decided to pop in on artist/writer/rocker/father of two Billy Childish who is enjoying something of an art world reprise.

The day would get not only very much better but also very expensive.

I have known Billy since we were at Medway Art College Foundation Course in the late seventies.   Another one of my up and down explosive relationships…but I have always been a great supporter of his and he me.  An unlikely friendship.

When I lived in Whitstable I would spend most Sunday afternoons with Billy and his Mother June.  Delicious roast chicken lunch every Sunday.

For the longest time I thought that he would end up like artist and dandy Sebastian Horsley:  successful once dead. Thankfully that has not come to pass.

Billy’s monumental new work has become monumentally well received.  After a sell out show at the Basel Art Fair and a major New York exhibition in an important gallery planned for the end of the year I can perfectly understand why he seems so confident.

[youtube=http://www.youtube.com/watch?v=dwb6v2tkqRA]

These new paintings are unbelievably beautiful and really hard for the Art Establishment to ignore.   The new work has an impeccable provenance.   Obvious influences include German Expressionists: Erich Heckel, Kirchner, Nolde.

Dreamlike reworking of earlier paintings as well as bold painterly portraits of Billy’s great heroes (Jean Sibelius) and when I was there, an epic series of paintings reworking images from the Battle of Wounded Knee.

Billy has been cruelly left out in the cold for nearly thirty years.  The art world added insult to injury by choosing to patronize the second-rate antics of Tracy Emin over her acknowledged mentor and ‘inspiration’.

I remember introducing Jay Jopling to Billy in Whitstable one Sunday afternoon and was shocked by Jay’s indifference.  Jay told me after the meeting that he thought Billy ‘aggressive and tricky’.

It brings a tear to my eye to see him finally and rightfully accepted into the fold.

Today I filmed him painting in his studio.

People ask him how long it takes to paint a painting.   “What can I say?”   Stabbing at a ten foot high canvas with his charcoal.   “An afternoon or thirty years?”

The new work is huge.

Of course it’s huge!  He is no longer restricted…physically…no longer painting in his bedroom.  He is being acknowledged.  He has a huge studio.  His wings no longer clipped.

These paintings are important.

We talked at length about Tracy Emin his long time ex girlfriend…who, when he saw her the time before last, rudely told him that she could not be bothered to hang out with anyone who ‘hadn’t realized their potential‘.

Tracy!  What a pompous cow!  Liar to boot.

Anyway, since the upturn in his fortunes she is suddenly very friendly with Billy.  He will, by far, crush her with his fame and fortune….even though he has no intention of doing either.

Tracy is a silly girl…she believes in her own greatness whilst all the time using made up stories to fuel interest in it.    Tracy, you mad cow…listen to me…we all realize our potential sooner or later…sometimes quickly…sometimes slowly.

I have a huge collection of Billy’s work.   Beautiful things.

Julie, Scout and Billy 2/1/11

Categories
art

I Love Whitstable

I love Shoreditch too.  I love Soho.  I love rioting students.

I love (particularly) the paint splattered Rolls that the parasite Prince Charles and the hag Camilla were caught in the other day by the ‘off with their heads’ militant protestors.  hahaah.

I am really loving being home. It has settled something in me.

After my fuck session (which will do me for some time I might add) I wandered happily all over Shoreditch.

I stopped in at a number of cool looking shops:  like the funky Japanese run clothes shop that sold padded linen overwear, the odd man’s pop up shop that sold Swedish soldiers head-gear and ‘vintage’ socks.

A shop that sells second-hand mens socks.  Eww.

I dropped into White Cube and resisted calling Jay.  The show was spectacularly lame.   The entire space devoted to a 37 year old artist called Rachel Kneebone.  Lamentations 2010 is the name of the downstairs show.  Huge white porcelain tangled/mangled/reconstituted genitals on huge marble plinths set against slate grey walls..beautifully lit.  The usual soulless, inchoate nonsense you might expect to find in White Cube.  They reminded one..obviously of the Chapman brothers and their obsession with the dark, chaotic imagery of the unconscious.

White Cube

Jay is already showing new artists who cannibalize existing White Cube artists.  Apparently Kneebone is expressing the ‘trauma of death, loss and grief’ and shown differently these works might very well have achieved her aim but so elegantly displayed they had the guts knocked right out of them.  I went upstairs to see the rest of the show but was told to leave as I had the dog with me.  I wasn’t leaving the Little Dog outside so I left.

I wandered around.  I met a man in the street who offered to blow me but I hadn’t showered that morning after a night of sex… I declined more for his benefit.

I found a wonderful shop called Labour and Wait which can be found at:

Labour and Wait

This charming store is really worth a visit.  I thought, when I found the 1940’s lilac, enameled milk-boiling pot pictured below:  Oooh, I thought, my friend Marilyn Phipps would like this.

As if by magic..who did I bump into today?

Marilyn Phipps!

Marilyn has the most wonderful home in Seasalter called The Battery.

The Battery, a nineteenth-century naval building, is a huge, bright blue, wooden house that sits right on the Whitstable beach and faces onto a 120ft secluded sea-front.  The Battery is a shrine to Forties ‘utility’. The kitchen was put in during the Forties when the house was used as a holiday retreat for disadvantaged children.

Marilyn has carried on the Forties theme throughout the house. The two huge wooden doors between the dining room and kitchen were made in the Forties for Ramsgate post office. The kitchen walls are lined with teapots, sugar shakers, vinegar jars, and salt cellars.

A huge kitchen clock was bought locally and the chunky table was already there.

The Battery can be incredibly hard to keep warm. Marilyn solved her problem by installing an enormous wood-burner for the dining room. She painted it midnight blue, making it more abstract sculpture than functional heater…she calls it The Beast.

The Battery has a fascinating history and features in the book Wooden Houses. It was built as two big wooden sheds at the end of the nineteenth century.  The first housed two cannons, the second was a drill hall for sailors, and during WW1 it was a convalescent home for wounded soldiers.

Marilyn still get’s people visiting who remember it from their childhood holidays in the Forties, saying they had the happiest time of their life here.

Wait!  Did I tell you that they found a strangled woman in the room I was staying in at Soho House NYC?  I can’t wait to stay there again.

Categories
art Christmas Dogs Gay Whitstable

Bollocks

Spent the past couple of days in London. Stayed at Dean Street Town House which is just perfect.  Perfectly well-appointed.  Huge rooms, pale pink curtains, heavily interlined.  A wonderful shower and a great coffee-making facility.  Delicious, hand-made biscuits.  The little dog and I luxuriated in acres of white linen and huge, fluffy pillows.

This morning I walked to Oxford Street through Golden Square.  Lovely to be home in London.  Lovely.  I was stopped by a beautiful, blue-eyed youth who wanted to talk about the little dog.

The beautiful youth not withstanding the streets are unusually crammed with ugly British people Christmas shopping.  Big faces on bald heads.  Prematurely middle age.  Marching up and down Oxford Street clutching at grim paper bags and their final straw.  Pasty, miserable, bespectacled boats.

Boat race=face.

The damp streets.  The gray sky.  Oh this is my darling England.

Stopped in at a pop up gallery on Berwick Street and bought:

By Christian Brett.

I thought in the circumstances..very appropriate!

Anyway, if you are interested in this and other work go to:

www.picturesonwalls.com

As a free gift, comes with every purchase, they gave me an original art work by Banksy….a brown paper bag with a Marks and Spencer type logo that reads ‘Marks and Stencils’ and is already selling on eBay for ninety quid.

Had a long chat with the curator Sam (knows Wendy Asher) who felt that the whole STREET ART movement had been suspended in aspic for the past decade and I think that he may very well have hit the nail on the head.  He didn’t feel as if he had ‘grown up’ that things had remained static, unevolved, complacent.

My own contemporary art world gripe: how come so few artists have anything relevant to say about world altering current events like Iraq?  For instance?  Who is making work about that?

Most conceptual, contemporary art is so bloody insular and self obsessed.   The entitled, bloated Tracy Emin (for instance) has become unashamedly bourgoise and so, I am sad to say, are the rest of the YBA wankers.

Why make work about a corrupt war when I can tell you all about my vagina/blood/self?

The art of ME.  I am all I ever think about… etc.

It’s Jay’s fault.  He loves a good title and a decorative flourish.  Jay Jopling has never been interested in political art and that, my friends, is very sad.

I mentioned Joseph Kosuth to Sam the pop up shop curator as an example of an artist who might have an opinion about the war and the bloody peace.

What is conceptual art?  The ‘value’ of particular artists after Duchamp can be weighed according to how much they questioned the nature of art.

Conceptual art is based on the notion that the essence of art is an idea, or concept, and may exist distinct from and in the absence of an object as its representation. It is called Idea art, Post-Object art, and Dematerialized art because it often assumes the form of a proposition (i.e., a document of the artist’s thinking) or a photographic document of an event.

Conceptual art practices emerged at a time when the authority of the art institution and the preciousness of the unique aesthetic object were being widely challenged by artists and critics.

Conceptual artists interrogated the possibilities of art-as-idea or art-as-knowledge, and to those ends explored linguistic, mathematical, and process-oriented dimensions of thought and aesthetics, as well as invisible systems, structures, and processes.

Artists such as Joseph Kosuth and members of the Art & Language group wrote theoretical essays that questioned the ways in which art has conventionally acquired meaning. In some cases such texts served as the art works themselves.

Dinner with Nicola and Chris on Saturday night.  Lovely.  We ate oysters, game pie and vegetables.  Ended up flirting with a cute doorman with footballers thighs in some club on Dean Street.  He was ‘straight’ so I walked away.  Damn.

This evening I met Charlie at a huge ‘A’ gay Christmas event.  I met loads of people.  Lovely (sexy, charming, witty and down-to-earth) Dutch/Kiwi man and his friend but the BEST was a gallerist/singer songwriter called Robert Diament who I could totally FALL for.  I kissed him goodnight.

Out sexy gay man with a brain.  Huh?  How did that happen?

Well, it’s not going to happen  In the cold light of this sober day (Monday morning) he’s far too young and until my heart is mended…I really can’t imagine letting anyone near me.

Drove back to Whitstable with Alma who is very funny and we giggled for miles.

Anyway, as I have said before..after letting you know my initial impressions of someone ‘special’ I won’t be writing about them again.  Can you tell that I am having a nice time?  That I am happy?  Can you?  I am safe and warm (house is a bit chilly) and enveloped by love?

I forgot to mention yesterday…I bought a hat at Kokon to Zai.  It is rather splendid.

Then I went to bed…good night…sweet dreams.


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Categories
prison

Prison Romance

Prison Calendar 1983

This is the calendar that I kept in my cell.  I marked off the days one by one.

The month before I was released from my ten month stay in prison in 1983 was perhaps, like many prisoners,  the most difficult of any time I spent there.  I had what is commonly known in British prison parlance: Gate Fever.

The terror at the prospect of release.

Since my arrest the preceding February I had  spent time in both Brixton prison, at that time a holding pen for the unconvicted or remanded prisoner, then once convicted I was transferred to Wormwood Scrubbs Prison in West London.  I was offered the chance of going to an open prison which would have been very comfortable indeed but I had fallen in love with Tommy, the prisoner with whom I shared a cell.

Our relationship lasted the duration of my sentence.  I was released before him and upon his release he returned to his wife and children.

Foolish love, it seems, has always caused me unnecessary repercussions.

Why in hells name was I in prison?  Well, I hadn’t murdered/raped/robbed anyone.

I was convicted at Knightsbridge Crown for Criminal Deception a charge relating to my not paying a credit card bill..my own credit card.    Not, as commentators would have it, someone elses.

At the time it never really occurred to me that I was being unfairly treated.  I had not paid the credit card bill and had avoided doing so.  In retrospect the sentence of fifteen months in prison seems like a gross over reaction by the court to what was surely a nothing sort of crime.

Stephen Fry At 17, absconded with a credit card stolen from a family friend and as a result spent three months in Pucklechurch Prison.

Fry stole someone else’s credit card and got 3 months at exactly the same time I was handed a 15 month sentenced for over using my own.

I was 22 years old when I was sent to prison for this non-violent victimless crime.  A crime like mine in 2010 would not even be a crime in modern Britain.   It was nothing short of class warfare that sent me to prison in the first place.

Posh versus Common.

Let’s face facts, I was sent to prison for my unusual back-story.   A back-story that should never have been mentioned in court because I was pleading guilty.  A back story that included royalty, the ruling class and a working-class upstart like me.

The Lords and Ladies who had become my friends during the time I pretended to be a Lord were indignant but I don’t think any one of them would have wanted me to be sent down.  The class outrage that caused such a harsh sentence was, of course, motivated by the aspiring middle class.

Judge Babington was a bourgeoise, one-armed circuit judge who died in 2004.  His family was described embarrassingly  as ‘well-to-do’  and in so being was in awe of the aristocracy, in awe of a title and outraged that I had simply acquired mine by lying about it.

Stephen Fry took me to the Garrick Club years later and there he was, Anthony Babington sitting in an over stuffed chair reading a broad sheet.  I looked at his withered arm and chuckled.

Stephen once said to me, “They don’t want to forget that you have been in prison Duncan.  It’s very unfair.”

Prison has defined my life.  I am that guy who went to Prison.  Jay Jopling would tell people, “Duncan has an amazing story.”  In this way I became a very British performance art piece.   A social freak.

When I am scolded for treating 30 year olds who make mistakes like grown ups I often remember that I was forced in a very public way at a very young age to accept my wrongs and grow up.

Even though, when I was released,  I did not crawl away and die like Patrick Kinmonth suggested.  Prison left an indelible mark on my psyche as well as my public and private standing.

Sure, had I not been sent to prison I would never have made as much money as I consequently made from AKA or telling that story over and over for TV, Radio and the like.

I would never have developed a taste for working class heterosexual men and I might have kept on the straight and narrow.  Prisons in the UK are often described by those of us who have experienced both as reminiscent of British boarding schools.  Consequently I rather enjoyed the routine, the monotony, the sex.

Once you have been imprisoned unfairly..YES IT WAS UNFAIR!..one has a very low regard for society and the rules of society.  Part of my fearlessness comes from knowing that if sent back to prison I would know what to do immediately.  How to behave.  Whom to defer.  Who to fuck.

I would not miss the endless choices of the modern world.  I would not miss a full wardrobe, a well written menu, compulsive internet use?  No.  It would be a relief.

I would miss my dogs.

If I could only get back there without breaking the law.

I have no shame about going to prison because I should not have been there in the first place.  It was like visiting a foreign country.  That’s what it felt like when I was 22 years old..like visiting a foreign country and I, a mere anthropologist, sent to eat their food and study their culture.   My crime and the associated press amused my fellow inmates and warders (screws) alike.   Nobody took my Criminal Deception very seriously.

Some of the men that I shared cells with whilst on remand in Brixton (the red headed rapist) are still in prison.  They never left.

There was one slight man who murdered a little girl.  Tiny little thing he was.  Never wanted to leave prison.  Never applied for parole.  Wanted his own death so badly.  Already dead inside.  Sad.  Those who killed loved ones, family members were the saddest of all.  Wishing that they were dead.  These men were not abstract villains, their names writ large on the covers of tawdry newspapers, they stood beside me in line waiting for cabbage and sausages.   It amazes me now how forgiving and accepting I could be with them…however ghastly their crime.

Funny, isn’t it, that I could accept and forgive the most terrible people capable of the most terrible crimes but I could not forgive you my dear JB.

So, today I am free?

I am free?  I am free to choose?  I am free to say what I want when I want to?  I am free to love a man?  I am free?

These freedoms do not make me free.