Alexander Adams

Thank you to all of my new followers for liking and sharing my recent art posts. For anyone new to me, I am an artist, critic and author. My income comes from art and writing. If you appreciate what I do and would like to support me, below are some ways you can do that. (1/5)

@BovrilG Francis Picabia, Adoration of the Golden Calf, 1948

You milk sixteen bulls, and what do you get Another day older and deeper in debt

Book cover of a writer discovered to have used LLM to write her latest novel. Hard to tell, isn't it?

It's interesting that this really shows how much more robust and behemoth the U.S. publishing industry is than the UK: this was published in the UK with no pushback and then it hit the early U.S. readers/reviewers, who were having none of it, identifying it as obviously AI, and then NYT pushed over it over the line of cancelation (I have a new appreciation suddenly for the NYT). Also - it' so so so obviously AI. Usually I read these things and I can't tell but this very obviously was. Here's a brilliant thread on why & common AI writing ticks reddit.com/r/books/commen…

@GomeryKimber I believe it is US dollars. Is that right @kulturedads ?

@AdamsArtist Are the prices quoted in Australian dollars, do you know?

Sending linocut prints off to their new homes. Joyce to the Joyce Foundation, Zurich, Joyce and Lewis to Buffalo University, Eliot to Cambridge University. It's wonderful to have these pictures go to institutions where they'll be seen by hundreds of people every day.

@hector_drummond @unherd @AaronBastani He's a snake.

@unherd @AaronBastani Although I agree with Bastani that liberalism has become a joke, it's still hard to take him seriously when he says that Farage, Goodwin and Badenoch are the "radical right".

HOW LIBERALISM BECAME A JOKE, by Aaron Bastani (@AaronBastani) Perhaps the reason for Davey’s perpetually jocular manner, and his incapability of embodying gravitas, is that liberalism itself has become an unserious worldview — one whose devotees believe in little more than a dying status quo. The liberal post-Cold War triumph was so utterly overwhelming that, almost two decades after the Global Financial Crisis, they lack the tools to diagnose our current political woes. Liberal centrists, therefore, have become instinctively complacent. The Lib Dems are now defined by their negative views: stop Brexit, stop Corbyn, stop Boris — and now stop Farage. They can’t be for anything, so to speak, because this is the world they wanted. And it sucks. The 21st century needs a reinvigorated, serious-minded liberalism to emerge — just don’t expect Ed Davey to be at the vanguard. Read more below ⬇️ buff.ly/oJGVUDv

@sepe_aeturnum Walking past my old house.

Wee walkies down the hill and you’re in the biggest shit hole in Europe. Crack Alley and Turbo Island

David Lynch's "Mulholland Drive"

@PaqWilly Thanks. Public museums/archives are a way making things available to people without having to arrange displays. Your time will come too!

@AdamsArtist Big honors, congrats.

David Lloyd George led the charge to emaciate the Lords, only to be undone by a "price for peerages" scandal. Tony Blair exchanged the bulk of hereditary peers for cronies and donors. The "House of Lords" only exists now as a testament to corruption - and it's being celebrated.

"Today, we are taught to take victims and survivors as our heroes. Undoubtedly, individuals who have suffered greatly can have heroic qualities but a climate within which weakness, failure and helplessness become venerated, such flaws will be cultivated. And why not? If we live in an intersectional society where the most oppressed win the greatest prizes, victimhood becomes a currency to be traded and forged. This cynicism makes us despise heroes and makes us susceptible to imprecations to tear down statues." "Iconoclasm, Identity Politics and the Erasure of History" (Imprint Academic, 2020)

@AdamsArtist @oldspeak_books I have a brother that would be fascinated by this book. It's going to make a great birthday present for him

@Nerudaearth @oldspeak_books Much appreciated. Even people who know the subject find new information in it.

It may have slipped past you (as it was announced shortly before Xmas) that Maria Balshaw has stepped down as director of the Tate. Her tenure has been a miserable experience for all those who value art over quotas. When her replacement is announced (appointed by the PM) it will be more of the same. No reverse gear, no apologies. You'll see more along the lines of the predictions in my book (publ. 2019). Here are the top ones: 1. Collection and exhibition of art will be increasingly driven by the imperative to promote female/minority artists regardless of aesthetic or formal qualities. 4. Space devoted to historical (pre-Modern) art in Tate Britain will be steadily reduced. Presentations of historical art will increasingly disregard art-historical standards. 5. Interpretative texts will reduce discussion of stylistic aspects and will highlight social dimensions of art. 6. The Turner Prize will become an award driven by political ideology. 7. The Tate will be rebranded as a museum of world art. Western and British art will be marginalised in terms of space, funding, exhibitions and acquisitions. Tate is contravening its founding acts and making it a laughing stock, all the time burning British people's money. And no one will stop the activist curators.

My father had an Alfa and I can confirm this is no exaggeration.

No, no. Things are bad enough, there's no need to make them worse.

This rare self-portrait began during an art residency in South Australia following a major life change. I recently completed it in Sydney, and it was presented at the group exhibition ‘Sense of Place’ in Adelaide alongside several artists I deeply admire. The work draws inspiration from South Australian artists John Brack and Jeffrey Smart.

@R_W_Daffurn Any installation shots you can share?

'Second Valley' 31x36cm Oil on linen Painted quickly on a road trip with Sophie, while she snorkelled! This area of South Australia looks like Norway. Our opening night was a great success!! The exhibition continues at Mezzanine 55 gallery, Adelaide until 24 March