Abstract

Not long before the change of Government in Britain in 1997, the then Heritage Secretary, Virginia Bottomley, made a speech in which she praised British contemporary art, describing it as the most exciting and innovatory in the world. Unexciting as it seemed, her observation was profoundly innovatory, indeed in its small way historic. To my knowledge no British Cabinet Minister, still less a Conservative, has ever given an official seal of approval to what is conventionally regarded as avant-garde art. The Labour Government has echoed its predecessor's praise at a higher volume, as if determined to out-do it. The sanctification by the state of works of contemporary art has now become part of the discourse of officialdom